Shakespearean prompt-books of the seventeenth century.Shakespearean prompt-books of the seventeenth century, vol. 4 (Smock Alley Hamlet) Editor G. Blakemore Evans
Issued in portfolios. The prompt-books are reproduced in collotype facsimile.University Press of Virginia Charlottesville, VA 1966 Print copy consulted: UVa Library call number PR 2757 .E9 1960 v.4
Shakespearean prompt-books of the seventeenth century
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Library of Congress Subject Headings 1960-1966 English drama; prose; non-fiction LCSH 24-bit color; 400 dpi July 1997 corrector Catherine Tousignant, Electronic Text Center
of the SEVENTEENTH CENTURY Vol. IV: Part i
Introduction to the Smock Alley
Collations Edited by
G. Blakemore Evans Published for
The Bibliographical Society of the University of Virginia
University Press of Virginia, Charlottesville
EDITORIAL ADVISORY COMMITTEE
The Bibliographical Society Of the University Of Virginia
ARTHUR F. STOCKER, Chairman
JOHN COOK WYLLIE
The production of this volume was supervised by Fredson Bowers
- Introduction to The Smock Alley Hamlet . . . . . . 1
- Collations . . . . . . . . . . . . . . . . . . . . . . . 11
Smock Alley Hamlet
THE apparent connection, somewhat confused though that connection may seem to be, of the Smock Alley Hamlet (preserved in the University of Edinburgh Library) with one of the two 1676 actors' quartos, 1 would appear to afford a date before which the prompt-book cannot have been prepared. There is, of course, the slight possibility that this connection may be explained through something like a common source, for example, the prompt-book in use at the Duke of York's Theatre. But as we shall see the weight of the evidence is against such a possibility, though influence from the London productions may, I believe, be postulated apart from the direct contribution of the actors' quartos. Other evidence for dating may be found in the names Trefusis and Williams (see IV.v.96; IV.vii.35; V.ii.172). Joseph Trefusis acted at the Smock Alley Theatre from about 1675 to 1688; David Williams left Smock Alley in 1679. 2 Prompt hands found elsewhere in the Smock Alley promptbooks (in Lear, Macbeth, Othello, Henry VIII, Merry Wives, Twelfth Night, and the Julius Caesar cast) can be identified in this prompt-book and serve to link it closely with these plays, several of which can be dated between 1674 and 1682. We may, therefore, with some assurance place Hamlet within a period most probably not earlier than 1676 and not later than 1679. Such a date makes the Smock Alley Hamlet by more than seventy years the earliest prompt-book of Hamlet now extant. 3 I have, with some trepidation, distinguished nine separate hands among the various revisions and prompt-notations. Hand I (the same as Hand I in Macbeth, Lear, and Twelfth Night) writes in the stage setting called for at the beginning of a new scene; and the same hand is also probably responsible for the anticipatory 'scean' calls which precede each scene change (see, for example, I.i. opening s.d. and 164). Hand II (the same as Hand II in Macbeth, Othello, and I Henry IV and Hand I in Henry VIII) is responsible for most of the entry calls for characters and for most of the textual changes and deletions; it is thus the most important hand in the promptbook (see, for example, I.i.1, 72-80). Hand III (the same as Hand IV in Macbeth, Hand VI in Othello, Hand I in Merry Wives, the hand in the Julius Caesar acting list, and the main prompt hand in Wilson's Belphegor) furnishes a few speech-prefixes and prompt-notes for sound effects (see I.ii.17-41; I.iii.90-92; V.i.307). Hand IV is a mid-eighteenth-century hand which seems to make its corrections from eighteenth-century edited texts; it appears again as Hand II in Twelfth Night, Merry Wives, and Midsummer Night's Dream and Hand III in Lear (see, for example, II.i.87; II.ii.197). Hand V (perhaps ,the same as Hand II in Lear and Henry VIII) limits itself to a few textual changes (see III.i.173-175; IV.iii.3, 4; IV.vii.14). Hand VI (the same as that of the copyist in Merry Wives and Wilson's Belphegor) 4 adds one actor's name, a property note, and sound effects (see I.iv.6; III.i. opening; IV.vii.35 s.d.; V.ii.291). Hand VII writes 'Redy' under Hand II's calls, adds a few additional calls (see I.i.19-20; II.ii.116; IV.iii.89; V.i.27; V.ii.172-179) and is probably responsible for the crossed diagonal lines marking point of entry. Hand VIII occurs rarely and is concerned with changes in scene settings and with properties (see IV.ii. opening; IV.v. opening; V.ii. opening, 236 s.d.). Hand IX makes a few textual changes (see I.iii.2-4, 20; IV.v.103-106; IV.vii.6; V.i.281). What may probably be considered as a tenth hand appears in certain passages marked with a red pencil (see I.iii.22-28; II.i.80; III.iv.118-122; V.ii.338-339).
As I noted at the beginning of the last paragraph, it is with considerable trepidation that I have attempted to sort out these nine hands. The evidence is frequently so fragmentary that often one is left grasping at a single word or even a few letters. Moreover the conditions under which the notations were made were many times unfavorable, so that the writer was cramped and his writing distorted. Two hands trouble me particularly. Is Hand II really responsible not only for the majority of the character calls and act divisions, but also for the greater part of the actual cutting and textual revision? I am not absolutely sure, and it is possible that we have here two distinct hands at work under what I have called Hand II. Again, is Hand V, in fact, only Hand II in a more formal (and secretary) guise? Since I cannot be sure of the answers to either of these questions, I have decided to allow the designations to stand and to let my comments here serve as a warning.
The question of cutting in the Smock Alley Hamlet presents several problems. Because of the difference in length between the quarto and folio texts, the text used by the Smock Alley performers was already, before any cutting was undertaken, about 115 lines shorter than the quarto version employed by the Duke of York's players in London. 5 This fact has been kept in mind in arriving at some of the following figures. In the 1676 quartos (here called Q6, since the two quartos of that year are essentially identical for our purposes) and in all the later quartos (the last 1703) approximately 845 lines have been marked for deletion. Of the six other theatre versions here compared, Ward A and B (c. 1745) and the 1703 Folger prompt-book employ quarto editions as the bases of their acting texts; 6 the Tonson 1734 edition (representing the play as staged at Drury Lane about 1723) and the Garrick 1763 edition 7 are composite texts based on both quarto and folio and influenced by Rowe and later editors. The Garrick prompt-book (1772), to be distinguished from the 1763 Garrick version, is based on a 1747 text very close to that in the 1734 edition. Ward A cuts roughly 1,237 lines, Ward B about 1,056 lines; the 1734 edition marks approximately 1,081 lines for deletion and the 1763 Garrick version omits about 1,220 lines. The Garrick prompt-book and the1703 Folger promptbook (obviously related versions) 8 cut too drastically at the end to make comparative figures very helpful. 9
In comparing these figures with the amount of cutting in the Smock Alley Hamlet one is confronted not only by the discrepancy in length between the quarto and folio texts, but also by the difficulty of determining the exact amount of cutting intended. Two distinct layers of cutting may be distinguished. The earlier layer is, in general, indicated by a rough circling of a line or group of lines; the second layer by a crossing through of individual lines (or occasionally by rough crisscrossing of a group of lines). 10 Someone apparently went through the play (possibly with a copy of Q6 beside him) and circled lines and groups of lines with a view to preliminary cutting. This individual circled, in all, about 607 lines. Following this, Hand II (possibly, of course, the same person as the first 'circler') went through the play again, straightening out some of the tangles created by the circling, crossing through roughly 427 of the circled lines, at the same time crossing through an additional 175, making a total of 602 lines clearly marked for deletion. To these must be added 8 lines at IV.iv (the momentary entrance of Fortinbras in the folio text) which, though only circled, were certainly meant to be deleted, and another 7 lines in a torn section at II.ii.244 and III.iii.26. In all, then, the Smock Alley Hamlet would appear to cut around 617 lines. Allowing for the difference in length between quarto and folio texts, this figure gives a version only slightly longer than that of Q6. 11 There still remain, however, about 169 lines which have been circled but not otherwise marked, a number of which 'cuts' agree with suggested cuts in Q6. In many cases, moreover, I find it difficult to believe that these cuts were not finally intended, particularly, for example, in the play-within-the-play, which otherwise remains completely uncut. 12 If, then, we may suppose that the cutting includes all the circled passages not otherwise marked for deletion by partial crossing through, we arrive at a final total of around 786 lines, leaving a play of approximately 2,860 lines, 13 version nearly the same length as that of the suggested cutting of Q6 (2,832 lines).
The relation of the Smock Alley Hamlet to Qq. 6-7 (1676) must now be examined. Some connection with the text of Hamlet as it is found in Qq. 6-7 (and in the succeeding quartos) is certain, but whether the connection comes through the use of a copy, or copies, of Qq. 6-7 or through the reviser's (largely Hand II) knowledge of the London production on which Qq. 6-7 are based, requires consideration. The evidence is confusing. Many of the cuts, both those circled and those crossed through, agree exactly with cuts marked in Qq. 6-7. Moreover, passages omitted from the quarto version are often circled or crossed through, and many readings (mostly introduced by Hand II) which appear in print for the first time in Qq. 6-7 have been inserted throughout in the folio text. 14 On the other hand, many passages marked for deletion in Qq. 6-7 are not cut in the Smock Alley Hamlet; it makes independent cuts, and it sometimes follows the Qq. 6-7 reading only in part, giving the appearance of a reviser working rather from memory than from a printed text. 15 Occasionally, moreover, Hand II will alter phrasing in the folio (also revised or different in Qq. 6-7), but produce something quite unlike the Qq. 6-7 reading. 16 There is, however, one piece of evidence which points with some certainty to the use, at some stage, of a copy of Q6 (or Q7). At I.i.78 the Folio has been altered to read (Hand ?II): 'makes the night joynt-laborouror with the day:' to bring it into agreement with the reading of Qq. 6-7: 'Makes the night joynt labour with the day?' The word 'labour' in Qq. 6-7 is obviously an error (shared with Q5  and corrected in Q8 ) and the only way in which I can explain the redundant form 'laborouror' in the Smock Alley PB is to postulate careless copying from a corrected copy of Q6 (or Q7). The evidence, as a whole then, suggests considerable but not very systematic use of Qq. 6-7, eked out, as I shall suggest below, with what the reviser (or revisers) remembered from London performances.
At certain places the handling of the text in the Smock Alley Hamlet might seem to be more closely connected with eighteenth-century usage than with that in Q6. The most obvious example is the omission of the dumb show in III.ii and the changes in the dialogue between Hamlet and Ophelia immediately following. Actually, however, Q6 here most probably fails to record contemporary London stage usage, while the Smock Alley PB preserves it, since it is most unlikely that the direction of influence would have been from Dublin to the later English stage. Other examples, where the Smock Alley PB may certainly or probably be interpreted as revealing contemporary London production or cutting, may be studied, in the text or collations, at I.i.30-31, 33-34, 70 (discussed below); I.ii.202-204; I.iii.2-4; I.iv.65; I.v.135, 142, 156; I.ii.489; III.ii.192-195; IV.i.1-2, 14-23, 25-27; IV.iii.8, 58-70; IV.v.147-148, 152; IV.vii.162; V.i.240 s.d.; V.ii.278.
In his article on the Ward prompt-books, Dr. McManaway discusses the method there followed for getting the Ghost on and off stage in I.i, I.iv-v, and III.iv. It is clear that a trap was used for the Ghost's exit in I.v and for his entrance in III.iv. In I.i he seems to have 'stalked' on and off both times. 17 But Dr. McManaway and the late W. J. Lawrence would like to postulate the use of a trap for entrance and exit in I.i and for entrance in I.iv on the Elizabethan stage. The Smock Alley Hamlet, however, does not support this view; no trap seems to have been used in any of the scenes in question. 18 One piece of 'business' in I.i should perhaps be particularly noticed since it may have some bearing on the presentation of the Ghost's two entrances. The quarto and folio texts contain lines which make it clear that Horatio, Marcellus, and Barnardo are meant to be seated just before each appearance of the Ghost, but the Smock Alley PB, Ward A and B, Folger 1703 quarto, the Garrick 1763 text, and the 1734 Tonson text (though the last does not for some reason appear to cut the reference in line 30) all agree in deleting the several references to sitting. Such a change, of course, makes it unnecessary to have something 'on stage' upon which the three men can sit and hence cuts down on stage props, but it is also possible that the change was made to facilitate the entrance of the Ghost 'OP' or 'PS' instead of by way of the 'long trap' in the centre of the stage. If this argument may be allowed any weight, it would imply that a change took place in the Restoration London staging of this scene, a change not reflected in Q6, and that the failure of the Smock Alley PB to employ a trap entrance for the Ghost need not be interpreted as evidence against Elizabethan use of the trap in this scene.
The Smock Alley Hamlet makes use of a number of the stock scenes, all but one appearing in several of the other plays: Castle (I.i, iv; IV.vi), Court (I.ii; II.ii; IV.i, iii, vii; ?V.ii), 19 Chamber (I.iii; III.iv; IV.ii, v), bed chamber (II.i), Towne (V.i, ii [cancelled]), Church (V.i.240). The change of scene to 'Church' in V.i at line 240 introduces a setting not used elsewhere in the Smock Alley prompt-books; moreover a change of scene at this point, where the original text does not call for it, is interesting in itself, especially when it is also found in the 1734 Tonson and 1763 Garrick texts, suggesting once again that the Smock Alley Hamlet reflects Restoration London usage. The scene opens, we may suppose, with the 'graveyard' set up against a flat depicting houses and perhaps the outside of a church (this 'Towne' setting is employed in five other Smock Alley plays); at line 240 the scene is drawn, 20 discovering some sort of 'church interior' out of which the procession with Ophelia's body issues. At the conclusion of the scene, the scene would be 'closed,' as Hand I indicated with his setting 'Towne' at the beginning or V.ii. This scene was later recognized as unsatisfactory and resulted in the cancelling of 'Towne' and the call for a 'new sceen' by Hand VI.
In its handling of the soliloquies the Smock Alley Hamlet is close to Q6 and to most eighteenth-century versions. 21 'To be, or not to be' and "Tis now the very witching time' escape untouched (though Q6 and the later versions cut the last three lines of the second); 'Now might I do it pat' also appears to be uncut, though the Smock Alley PB is imperfect here (Q6 cuts 'Then trip . . . goes:' [93-95], but nothing in the earlier part of the speech which is missing from Smock Alley PB); 'How all occasions do inform' is, of course, omitted in the Folio text and hence in the Smock Alley PB, but in most of the later versions this speech was also cut entirely. 22
In his attitude toward Shakespeare's language, the reviser (largely Hand II) honors, for the most part, the modernizations found in the Q6 text. Occasionally he introduces variants of Q6's forms, 23 and from time to time makes changes or additions of his own (see, I.ii.64; I.ii. 126, 133-134, 202-204; I.iii.56, 108-109; I.iv.73-74; I.v.91; II.ii.6-12, 15-18; III.i.173-175; III.ii.146, 149, 152, 153, 154; III.iii.37; III.iv. 19; IV.iii.3, 4, 45, 46-47, 58-70; IV.v.77-94, 94, 101, 103-106, 151, 171, 172; IV.vii.6, 162; V.ii.294).
The Smock Alley Hamlet has been compared throughout with the following seven stage versions: (1) the Betterton cutting first published in 1676 (here represented by a copy of the four-line imprint edition and referred to as Q6); the remaining quartos (1676, 1683, 1695, 1703) all present essentially the same text. (2) The 1734 Tonson edition, representing the Wilks' text of 1723 (referred to as 1734). (3) Ward A and (4) Ward B (see Note 3, above). (5) The first Garrick version, represented by the 1763 edition referred to as 1763. (6) The autograph Garrick prompt-book of his 1772 version (referred to as Garrick PB). (7) The 1703 quarto Folger prompt-book, dating sometime after 1772 (referred to as 1703 Folger). 24 The cuts in the Collier-Perkins Second Folio (1632) have also been compared.
1. A later quarto (Q8, 1683, etc.) is almost certainly ruled out by (a) the evidence in I.i.78 (see discussion below) and (b) the supporting evidence of the other related Smock Alley prompt-books.
2. W. S. Clark, The Early Irish Stage (Oxford, 1955), pp. 208-209. The identification of '<?W>illian' in the call at V.ii.153 as Williams is not, of course, certain. Williams appears elsewhere only in the Julius Caesar cast, a cast which can be dated as not later than 1676.
3. The nearest contestants are two prompt-books prepared by the actor
John Ward probably around 1745 (hereafter referred to as Ward A [Tudor and
Stuart Club, Johns Hopkins University] and Ward B [Folger Shakespeare Library]).
Ward A makes use of one of the 1676 quartos (four-line imprint); Ward B, of a
copy of the 1683 quarto. See James G. McManaway, "The Two Earliest Prompt Books
of Hamlet," PBSA, XLIII (1949), 288-320. Dr. McManaway dates these two
Ward prompt-books 'shortly after 1740' (p. 310), but Ward's use of Warburton's
emendation 'Hernshaw' at II.ii.398 (Ward A) ) would suggest a date after 1744.
When Dr. McManaway wrote his article, the whereabouts of the Smock Alley
Hamlet was unknown and it is to his kindness that I owe my
knowledge of it.
A copy of the 1703 quarto (Folger Shakespeare Library, hereafter referred to as 1703 Folger) which shows definite evidence of stage provenience is much later and can be closely associated with Garrick's 1772 version (see, below, note 22). Another theatre version in the Folger Library, employing a 1750 Dublin edition of Hamlet, dates from Richard Daly's management of the Crow Street Theatre, Dublin (i.e. 1788-97). It has interesting notes on the acting of Hamlet's role, but is not properly speaking a prompt-book. I have not included it among the theatre versions compared in the Collations.
4. I have mistakenly described Hand VI as the same as Hand V in Othello and Hand III in I Henry IV in the General Introduction, p. 17, found in Volume I, Macbeth.
5. The Folio text lacks roughly 200 lines found in Quarto 2 (1604) and in all the later quartos, but it also contains about 85 lines not found in the quarto texts. The large amount of prose in Hamlet further complicates the counting of lines in texts which range from double column folio to duodecimo format.
6. See note 3, above.
7. I have not been able to see a copy of the 1751 edition of the first Garrick version, but C. B. Hogan (Shakespeare in the Theatre, II (1957), 188) asserts that the 1763 edition is identical with the 1751 edition 'save for minor omissions or restorations.' See Hogan's list of the more important omissions in the 1751 edition (pp. 187-188).
8. See note 22, below.
9. The 1703 Folger prompt-book cuts about 712 lines through IV.v; the Garrick prompt-book appears to cut only about 361 lines down to IV.vi, though I am somewhat suspicious of the apparent lack of cutting in the first four acts in view of the relationship between the Garrick prompt-book and the 1703 Folger version.
10. For the evidence establishing the relative order, see the text or collations at I.i.72-80, 90-96, 99-107; I.ii.17-41; II.i.1-74; II.ii.6-12; IV.iv.123-125. A third layer of cutting may be indicated by the use of a red crayon at II.ii.172, 173; III.iv.118-122, V.ii.338.
11. The omission of the dumb show in III.ii (retained by Q6) by Smock Alley PB would further serve to level the playing time.
12. By this I mean circled passages in which none of the lines has been separately deleted by being crossed through. There are, in support of the view that circling also implies cutting, two places where circled passages have been marked 'stet' (see III.iii.40-64 and III.iv.118-122).
13. My count is based on Alfred Hart's total of 3,761 lines for Hamlet, with allowance made for the Folio text (see RES, VIII , 21) .
14. See, for example, I.ii.141, 195; I.iii.7, 20, 46; I.v.187; II.ii.437; IV.vii.10, 14.
15. See, for example, I.ii.77-81, 195; I.iii.30; I.v.91, 133; II.ii. 553; III.i.30-31; IV.iii.46-47; IV.v.123-125, 147-148; IV.vii.63, 128-129. Compare the use of the D'Avenant Macbeth in the Smock Alley PB.
16. See, for example, I.v.186; II.i.77, 79; IV.v.123-125, 151; IV.vii.63.
17. McManaway, op.cit., 315-317. It is interesting to compare also the handling of these scenes in the 1703 Folger PB. In I.i the Ghost walks on 'OP' and exits 'PS'; he then re-enters 'PS' and exits 'OP' (incidentally the 'cock crowing' is here deleted). In I.iv the Ghost walks on 'PS' and exits with Hamlet 'PS', re-entering immediately with Hamlet 'OP'. A trap, however, is used for his exit, the direction reading 'Ghost sinks PS' (the understage swearing is here cut to a single 'Swear' on the Ghost's part at line 149, lines 150-163 being deleted). In III.iv the Ghost walks on 'OPd' and off (his exit position not noted since he only appears and does not move).
18. That the Smock Alley theatre was equipped for trap appearances is proved by two such entrances in the Smock Alley prompt-book of Wilson's Belphegor (c. 1677), a play more or less exactly contemporary with the Smock Alley Hamlet.
19. V.ii was originally marked 'Towne' (Hand I), but this was crossed through and altered to 'new sceen' (Hand VII), by which is meant probably the 'Court' scene (Hand I having originally suggested a change of scene to 'Court' at line 235, also crossed through).
20. Compare the s.d. in the 1734 Tonson version: 'Scene draws, and discovers the King, Queen, Laertes and - Priest, with a Corse.' Rowe describes the whole setting of V.i as 'SCENE A Church.'
21. See Hazelton Spencer, 'Hamlet under the Restoration,' PMLA, XXXVIII (1923), 770-791, and 'Seventeenth-Century Cuts in Hamlet's Soliloquies,' RES, IX (1933), 257-265. G. W. Stone, Jr. ('Garrick's Alteration of Hamlet,' PMLA, XLIX , 890-921) also offers some interesting figures on cutting in several eighteenth-century printed versions.
22. First restored in Garrick's 1772 version (see Stone, op.cit.,
p. 903). It is also restored (and arranged as in the Garrick version,
except that Rosincrantz takes the Captain's place instead of Guildenstern) in
the 1703 Folger PB, which concludes IV.iv and begins IV.v as follows (beginning
with line 59) :
"And let all sleep, Awake my Soul awake!
Wake Nature, Manhood Vengeance [wake deleted;] rouse at once
My Father's Spirit calls! the hour is come!
From this time forth--My thoughts be bloody all
I'll fly my Keepers--Sweep to my Revenge.
Exit PS. Scene Enter King & Queen PS.
King: See where She comes--it is a piteous Sight.
Queen. O She Cleaves my heart--her distemperd mind
Communicates Infection to my own.
Enter Ophelia distracted Where is the beauteous &c"
The connection with Garrick's concluding lines in Hamlet's soliloquy is obvious: 'O from this Time forth,/ My Thoughts be bloody all! the hour is come-- / I'll fly my Keepers--sweep to my revenge.' (see Stone, op.cit., p. 912). On the other hand, the beginning of Garrick's equivalent of IV.v shows no connection with the opening lines as given in the 1703 Folger PB. Later in IV.v, however, we find 1703 Folger PB following Garrick's insertion of lines 203-219 ('go but . . . with me.') after line 152 ('.. . your eye.'). These points of contact with Garrick's 1772 version explain why the prompt-markings stop with the end of IV.v, what little remains in Garrick's version having been separately copied out by the prompter (and since lost). The fact that the lines quoted from the conclusion of Hamlet's soliloquy (IV.iv) agree exactly with the conclusion of that soliloquy as quoted by the younger Boswell (Boswell's edition of Malone's Shakespeare, 1821, II, 692) from another copy of the 1703 quarto prepared by William Hopkins, Garrick's prompter (see Stone, op.cit., p. 891) would suggest perhaps that this version, rather than that quoted directly from Garrick's autograph copy by Stone (op.cit., p. 912), was the final stage form and that the opening lines inserted in the 1703 Folger PB for IV.v also represent Garrick's final version. If this is so, then the 1703 Folger version deserves further study since a number of the earlier cuts agree only in part with the cuts listed by Stone for Garrick's adaptation.
23. See Note 14, above.
24. The version in Bell's Shakespeare (1773), Vol.III, is essentially a reprint of the 1751 Garrick text.
The act, scene, and line numbering is that of the standard Globe text (1911 ed.). Angle-brackets are used to indicate (1) missing words or letters; (2) illegible words or letters; (3) doubtful or conjectural readings. The following abbreviations are employed:
- Collier MS: . . . . . . the Collier-Perkins Second Folio (1632) now in the Huntington Library
- F: . . . . . . . . . . here used for Third Folio (1664)
- Ff: . . . . . . . . . . indicates agreement of all four Folios
- Garrick PB: . . . . . . Garrick's 1772 acting version, in the Folger Shakespeare Library, partly autograph, based on a 1747 printed text
- Inchbald: . . . . . . . Hamlet in Mrs. Inchbald's The British Theatre (1808), Vol. I
- PB: . . . . . . . . . . Smock Alley Hamlet prompt-book
- Q6: . . . . . . . . . . the Betterton acting version of 1676
- Qq: . . . . . . . . . . indicates substantial agreement of all quarto versions (except Q1)
- Ward A: . . . . . . . . John Ward's prompt-book (c. 1745) in the Tudor and Stuart Club collection, Johns Hopkins University
- Ward B: . . . . . . . . a second prompt-book belonging to John Ward (c.1745) in the Folger Shakepeare Library
- 1703: . . . . . . . . . Folger prompt-book, in the Folger Shakespeare Library, associated with the Garrick PB version, based on a copy of the 1703 quarto
- 1734: . . . . . . . . . Tonson's 1734 edition of Hamlet
- 1747: . . . . . . . . . see above, Garrick PB
- 1763: . . . . . . . . . Garrick's first acting version, as printed in 1763
- 1773: . . . . . . . . . Hamlet in Bell's Shakespeare (1773), Vol. III
King / < > 0phelia / < > Ghost / [line] ] Possibly Hand II. As a prompt call this notation makes no sense. Apparently something which has been trimmed away preceded the last two names, but even before trimming there would not have been enough room for actors' names.
I.i.: Castle] Hand I. 1734, 1763, Garrick PB, give the setting as 'An open place before the Palace.'; Ward A, 'Town:'; Ward B, 'a platform.' (these are the only suggestions of actual settings in Ward A, B). 1703 Folger contains no descriptions of settings, though the opening s.d. reads 'Enter Barnardo, Francisco from the Castle.'
1: Horatio / Marcellus] Hand II. Entry marked with crossed line at 14. What looks like a small cross below this line is an ink off-print from the facing page (731) .
30-31: Bar. Sit . . . And] Circled. 'Bar.' circled in error. Note that all later references to sitting down (33, 70) are likewise circled for deletion. So Ward A, B, 1763, 1703 Folger, all of which substitute 'Come' (1734, although it cuts the later references, retains 30-31) .
32: so] Possibly crossed through, though the deletion may be simply an ink off-print from the facing page (731).
33-34: Hor. Well . . . And] Circled. 'Hor.' circled in error. Cut (retaining 'Well') 1734, Ward A, B, 1763, and 1703 Folger.
56: Before my God] Circled. Omitted Q6, etc.
62-64: So fround . . . strange.] Circled. Cut 1734, Ward A, 1763; Q6, Ward B cut 62-63.
63: Cock] Hand II. Call for the cock-crowing at 137 or 139; see below. Ward A, at 67, reads 'one to Crow'; Ward B, at 102, 'one / Ready to Crow'.
70: Good now . . . and] Crossed through. Cut 1734, Ward A, B, 1763, Garrick PB, 1703 Folger (retaining Q 'Pray' for F 'Good now').
72-80: So nightly . . . so:] Circled and partly crossed through. There are several layers of cutting here. 72-77, 78-79, 80 are separately circled. Originally only 72-77 were included. Hand II finally gave the passage its final form, crossing through 73-77, placing 'and' at the end of 72, and deleting F 'Doth' in 78; at the same time altering 78 to read 'makes the night joynt-laborouror with the day:' (the Qq all omit 'Doth' and read 'makes'). Hand ?II has also written what looks like 'for' before F 'Doth' (78), an addition deleted at the same time as 'Doth'. It is not clear whether 'At . . . so:' (80) is meant to be cut in the final version of the lines (it has not been crossed through). See the Introduction (p. 6) for a discussion of 'joynt-laborouror'. 1763 reads the speech as in the final form in PB (cutting 'At . . . so:' 80); Q6, 1734 cut 73-79(' . . . me?'), 80 ('At . . . so.'); Ward A, B cut 73-77 (reading 'Making' 78), 80 ('At . . . so.'); 1703 Folger cuts only 80 ('At . . . so.') .
83: (Thereto prick'd . . . prise) ] Circled and crossed through. Cut Q6, etc. (except Garrick PB).
85: (For so . . . him) ] Circled and crossed through. A single vertical line after 'Combate.' (84) seems to join this deletion with that in 83. Cut Q6, etc. (except Garrick PB) .
90-96: Against the . . . full,] Circled and crossed through (except for 'Now sir, young Fortinbras' 95). Hand ?II has written 'and he' (deleted) opposite the end of 96, intending to link 89 and 97. Later it was seen that the 'he' would thus refer to the elder Fortinbras; 'and he' was cancelled and the last half of 95 retained in its place, the other lines being crossed through. 1734, Ward, A, B as finally in PB; Q6 cuts 89-96; 1763 as in PB, but retains 96.
99-107: For food . . . Land.] Circled and 99-102 ('For . . . But'), 103 ('And termes compulsative,'), 106-107 crossed through. The original circling loses most of the point of the speech. Q6 cuts 99-104 ('For . . . lost:') and 106-107; 1734, 1763, 1703 Folger cut as in PB, but also delete 'of . . . hand' (104); Ward A cuts 99-103 ('For . . . compulsa- tory,') and adds, as link, 'to recover'; Ward B cuts as in PB, but also deletes 'by strong hand' (102) .
137, 139: Croe / Crow] Hands ?III, ?VIII. Q6, etc., following 138 note 'The Cock crows.' (cancelled in 1703 Folger).
141-142: King. Queene / Polonius Laertes / Hamlet / Redy] Hand II ('Redy' Hand VII). Entry marked with crossed line at opening of scene ii. Note that, like Q6, 1734, Ward A, 1763, Garrick PB, 1703 Folger, PB omits Ophelia from those entering in scene ii (the name is not deleted in PB's F s.d.); Ward B adds Ophelia to the quarto entry.
164: scea<n>] Hand I. This notation calls for the change of scene at scene ii below. It is used regularly in this PB, except at the end of acts; it is used nowhere else in the Smock Alley PB's.
Court] Hand I. 1734, 1763, Garrick PB read 'The Palace.'; Ward A places the symbol in left margin opposite Q s.d.; Ward B deletes 'Enter' in Q s.d. and notes in the right margin ' (Discover'd) '.
11-13: With one . . . Dole] Circled and crossed through (13 may have been separately circled). Cut Q6, etc. (except Garrick PB), and Collier MS.
17: for all our thanks.] Crossed through. Cut 1734, Ward A, B, 1763.
17-41 s.d.: you know . . . Cornelius.] Circled (except for 17) and partly crossed through. The original rough circling of these lines (17 excepted) left the speech dangling. Hand II crossed through the last half of 17 ('you . . . Fortinbras,'), and substituted, in the right margin, preceded with a small cross, 'we have ['have' smeared or deleted] disp<atch'd> / Embassadours <?to> / young Fortin<bras> / And now La<ertes> [the last three words deleted]'. He then crossed through 18-35, deleted F 'to you' (36), interlining 'them' above, inserted 'of Treaty' (something cancelled after 'of') following F 'power' (36), and deleted F 'To businesse' and 'more' in 37. He finally crossed through 39-41 (including the s.d.). Hand V is responsible for the speech-heads 'Pol:' before 36 and 'King', affixed with a caret above the beginning of 42. It is possible that the changes in 36 are also Hand V's work. Some reference to the 'Ambassadours' is preserved by Hand II to prepare for the report of their return in II.ii. 40-41, but why three of the King's lines (36-38) are given to Polonius is not very clear. Originally Hand II intended to cut everything down to 42 (see the cancelled 'And now La<ertes>' above). Note also that the 'Ambassadours' have been sent to 'young Fortin<bras>' instead of to 'old Norway'. Q6 cuts 17-41 ('Now . . . farewell.'); 1734 seems to cut 17-50; Ward A cuts 16-41 ('for . . . farewell.'), linking with 'And' and including 'what's . . . you?' in 42; Ward B, 63 cut 16-41 ('for . . . farewell.'); 1703 Folger cuts 17 ('Now . . . farewell.') and links with 'And' to 42.
43-50: What is't . . . Laertes?] Circled (except 43) and crossed through (except 50). Hand II thus exchanges 50 for 43. Q6, Ward A, B, 1763 cut 44-50; 1734 cuts, 17-50; Collier MS, 45-50 ('beg . . . Laertes?).
56: And bow . . . pardon,] Crossed through. Cut Q6, 1734, Ward A, B.
63: thy best graces] Crossed through. Cut 1734, Ward A; Ward B cuts whole line.
64: our . . . our] Hand II interlines 'our' above deleted 'my' in both cases. The change misses the intentionally personal quality of Claudius' approach to Hamlet.
77-81: my Inky . . . Visage,] Crossed through. Hand 1I substitutes 'these / mourning weeds'. Q6 cuts 78-81 (reading 'this mourning cloke'); 1734, Ward A, B, 63, Garrick PB, 1703 Folger also cut 78-81 (reading 'this mourning Suit').
84: For they . . . play:] Crossed through. Hand II writes 'but' (cancelled) at end of 83. Cut Q6, 1734, Ward A, B.
94-106: 'Tis unmanly . . . so.] Circled and crossed through. So 1763; Q6, 1734, Ward B cut 95-106; Ward A, 92 ('but . . .') -106; Garrick PB, 94-106 ("tis . . . so.') retaining 'to Heaven:' (95); Collier MS, 95-99, 101-106 ('rye . . . so.').
108-112: horatio / Barnard / Marcellus / Redy] Hand VII. Hand II's call at 140-142 has been cancelled.
110-116: And with . . . eye,] Circled and crossed through. So Q6, 1734, Ward A, B, 1763; 1703 Folger cuts 112 ('for . . . ') -114; 1747 cuts 110-117.
126: it.] Hand II adds 'it.' at end of 126, preceded by a cancelled word or letters. So 1763.
127-128: And the . . . away.] Circled and crossed through (except 'Come away.' 128) . Q6, Ward B, 1703 Folger cut 127; 1734, Ward A, 1763, Garrick PB cut both lines completely.
130: Thaw and . . . self] Circled and crossed through.
132: O God, O God?] Circled (with last part of 133) and crossed through. Omitted Q6, 1734, Ward A, B, 1763, Garrick PB.
133-134: wearysome / to me are all] Originally only 'stale . . . unprofitable' (133) circled; then Hand II crossed through these words and 'Seems' in 134, placed 'some' after the deleted F 'unprofitable', and interlined 'are' with a caret above F 'me' (134). 1763 omits 'flat' (133).
135: Fie on't? Oh fie,] Circled and crossed through. Omitted Q6, Ward A, B.
137: That it . . . this:] Circled and crossed through.
139-140: that was . . . Satyre:] Circled and crossed through. Omitted Q6, Ward A, B, 1703 Folger; cut 1734, Garrick PB.
141: permitted not] Hand II interlines, with a caret after 'he', for F 'might not beteen' (crossed through). Cut Q6, etc.
140-143: Horatio / Barnardo / Marcellus.] Hand II (cancelled) .
143-144: Heaven and . . . why] Crossed through. Omitted Q6, Ward A (restores 'Why' 144), B; 1734, Garrick PB cut (but retain 'why').
144: vs'd to] Hand II interlines, with a caret after 'she', for F 'would' (crossed through). So Q6.
147-151: or ere . . . longer) ] Crossed through. Cut 1734, Garrick PB; Q6, Ward B cut but include all of 147; Ward A first cut as in Q6, but restored all but 'Like . . . tears,' (149); 1703 Folger cuts 150-151 (' . . . longer,').
153-159: Within a . . . tongue.] Circled and crossed through. Cut 1734, Ward A, B; Q6 cuts 154-159; 1763, Garrick PB, 1703 Folger cut 153 ('Within . . . ')-157.
195: wonder to you] Hand II substitutes, at end of line, for F 'marvel to you,' (crossed through). Cut Q6, etc.
195: Pray let me hear it] Hand II interlines 'Pray' above F 'For . . . love' (crossed through) and adds 'it' after F 'hear.' So Q6, 1734, Ward A, B, 1763, Garrick PB, but without 'it'.
202-204: stately By thrice he walk'd, within / my rapiers length;] Hand II deletes F period after 'stately', crosses through 'them' (202) and 'By . . . Truncheons' (203-4), and writes in, at ends of 202, 203, 'within / my rapiers'. Hand II omits necessary pointing after 'By'. Q6, Ward B change only the pointing in 202 ('stately by them:'); 1734, Ward A, 1763 cut 203 and read 'Within my Rapier's length;' (following Q6 pointing in 202); 1703 Folger follows Q6 pointing in 202 and cuts 203.
204: distill'd] Hand ?II alters F 'be still'd' by writing 'all' over 'be'. Cut Q6, Ward A, B, 1763, 1703 Folger. 1747 reads 'be-still'd'.
211-212: I knew . . . like.] Crossed through. Cut Q6, etc.
234-236: Laertes / Ophelia / Redy] Hand II ('Redy' Hand VII).
237: very like:] Crossed through. Omitted Q6, etc.
240: grisled?] Hand II substitutes at line end for F 'grisly?' (crossed through). So Q6, 1734, Ward B, Garrick PB, 1703 Folger.
240: scea<n>] Hand I. Call for change of scene below (scene iii)
248: require] Hand II crosses through F 'be tenable' and interlines 'require', with a caret after 'be' (neglecting to delete 'in' as sense requires). Q6, 1734, Ward A, B, Garrick PB, 1703 Folger read 'require' and omit 'in'; 1763 reads 'be treble in' (F1).
251: so, fare ye well:] Crossed through. Cut perhaps because of the later 'farewell' in 254.
Cha<mber>] Hand I. Q6, etc. do not mark a new scene here. Pope first gives a new setting: 'An Apartment in Polonius's house.' Garrick PB, 1703 Folger begin Act II here.
2-4: Winds permit / Pray let] Hands II and IX. Hand IX seems to have crossed through F 'give . . . But' (2-4), written 'permett' at end of 2, and 'Pray' before deleted F 'But' (4) . Then Hand II cancelled 'permett' and wrote 'permit' after it. Q6 cuts 'And . . . assistant, '; 1734, Garrick PB do not cut but read 'Winds permit, . . . But let'; Ward A reads 'winds permit, / let'; Ward B reads 'winds give benefit / let'; 1763 reads 'Winds permit, pray / Let'.
7: & prime of nature] Hand II substitutes, at line end, for F 'of Primy Nature; ' (crossed through). So Q6, etc.
10: Polonius. / Redy] Hands II, VII.
18: For he . . . Birth:] Circled and crossed through. See note on 11-17.
20: bestow] Hand IX substitutes, in left margin, for F 'Carve for' (crossed through). So Q6, Ward A, B.
21: the safety] Hand II substitutes, at end of 20, for F 'The sanctity' (crossed through). So Q6, etc. (except 1763 which reeds 'Sanity' [Hanmer]).
22-28: And therefore . . . withal!.] 22-24 (' . . . head.') crossed through in red pencil; 24 ('Then . . . ') -28 circled and crossed through. Note this same red pencil at 43-44, 52 below. Q6 (the 1703 Q does not mark 26-27 for cutting), 1734, Ward A, B, 1763 cut 22-28.
30: credulous ear you trust his Songs;] Hand II interlines 'ulous' above F 'ens' (crossed through) and interlines 'trust', with a caret, above F 'list' (crossed through). Q6 reads 'credulous ear you hear his songs, '; 1734, 1763, 'credulous Ear you hear his Passion,'; Ward A, 'credulous ear you hearken to him.'; Ward B, 'credulous Ear you hear his Vows,'; 1703 Folger, 'credulous ear you List his passion.'
31-32: Or lose . . . importunity.] Circled and crossed through. Cut Q6, 1734, Ward A, B, 1763.
34-35: And keep . . . desire.] Circled and crossed through. Q6, Ward B cut 34-44; 1734, Ward A, 1763, 34-35, 38-44; 1703 Folger, only 44.
38-44: Vertue it . . . near.] Circled and crossed through (4344 only crossed through in red pencil) . See above, 34-35.
45-46: keep, about / my heart:] Hand II crosses through F 'As watchmen to' (46) and inserts 'about' after F 'keep, ' (45). So Q6, etc.
49: wretched] Hand II interlines above 'puff and recklesse' (crossed through). Q6, etc. omit 'puff and recklesse'; 1763 substitutes 'careless' (Pope).
51: And reeks . . . reed.] Crossed through. Cut Q6, Ward A, B, 1763, 1703 Folger.
52-54: but here . . . leave.] Circled (53-54) and crossed through. Cut Q6; 1734 cuts 53; Ward A, B, 1763, 1703 Folger, 53-54.
56-57: sits faire And you] Hand II crosses through F 'in . . . sail,' (56) and inserts 'faire' after 'sail,'. The cross mark following 'faire' usually marks an insertion. Q6 and 1734 cut 56-81. Garrick PB adds two lines after 55: 'Tis late & very late, ye Moon is up / And in full beauty lights you. to yr. vessell / The wind is up &c'.
57: there] Crossed through. See below, 58-80.
58-80: And these . . . man.] Crossed through. Q6, 1734 cut 56-81 (though 1734 seems to except 59-60); Ward A, B, 1763, 57 ('There . . . ')-81; Garrick PB, 70-80; 1703 Folger, 70-74.
81: my blessing . . . thee.] Crossed through. See above, 58-80.
85: 'Tis in my] Hand II interlines 'in' with a caret before F 'my' (the reading of all other texts).
90-92: drum trumpit / Redy] Hand III ('Redy' Hand VII) . This is a call for offstage noises at I.iv.6, where Q6 notes: 'A flourish of Trumpets and Guns. ' . Note that Smock Alley PB, like all the later acting versions, gets rid of the 'Guns' . 1734, Garrick PB note (at I.iv.6): 'Noise of warlike Musick within. '; Ward A calls for a 'Flourish' at 99; Ward B gives no call, but indicates some off-stage sound by a cross at iv.6; 1763 notes: 'Trumpets a Tune. '; 1703 Folger deletes 'Guns' in the s.d.
95-99: Hamlet / Horatio / Marcellus / Redy] Hand II ('Redy' Hand VII) .
108-109: or be esteem'd a / cheap fool] Hand II substitutes, at end of lines, for F 'Or not . . . fool' (108-109). 1734 cuts 108-109 ( ' (Or . . . thus,) '); Ward A, B, 1763, 1703 Folger reduce to 'Or you'1 tender me a fool. ' .
111: scean] Hand I. Call for new scene ('Castle') at I.iv.
117-131: these biases . . . all:] Crossed through, 131 ('This . . . all:'), perhaps separately. So apparently Q6; 1734, Ward A, B, 1763, 1703 Folger cut 117-131 (' . . . beguile.'); Collier MS, 127-131.
133-134: so slander . . . or] Crossed through.
135: come your way.] Crossed through.
(opening): Castle] Hand I. PB, following F, does not number this as a new scene. 1734, 1763, and Garrick PB note: 'The Platform before the Palace. '; Ward B indicates some kind of change by the symbol . Garrick PB makes this 'Scene 2. ' of Act II.
2-3: Ghost] Hand II.
6: (and below) Beatte [Hand II1] / Sond here [Hand ?VI]/ Beat There. [Hand VI] Hand ?VI places an index-finger opposite 'Beatte' . These directions refer to the 'drum trumpit' called for at iii. 90-92 above (see the note on these lines) .
9: Keeps wassels . . . reels,] Crossed through. Cut Q6, 1734, Ward A (which includes 'and . . . rowse, '  ), Ward B, Garrick PB; 1763 cuts 9-10.
11: proclaim] Hand II substitutes for F 'bray out' (crossed through) at end of line. So Q6, etc. (except 1703 Folger).
17-38: ] These lines (through 'scandal.' ), omitted in Ff, are, of course, absent from PB and are also cut in Q6, etc.
57: why is this] The marks above these words are an ink off-print from page 734.
64-65: I / value not my life] Hand II, at end of lines, substitutes for F 'I do . . . fee?' (crossed through). 'not' interlined with a caret before 'my'. So 1734, etc. (except Q6, 'I do not value my life: ' ) .
71: That beetles . . . Sea,] Crossed through. Cut Q6, etc.
72-74: forme, to draw] Hand II crosses through F 'Which . . . Reason, And' (73-74) and inserts 'to' after 'forme,' (72). Q6, etc. (except Garrick PB) cut 73.
74: think of it.] Crossed through. Cut Q6, etc., which also omit 75-78 ('... beneath.'), lines omitted from Ff and PB.
89: Have after,] Crossed through. Omitted Q6, etc.
91: discouer it.] Hand II substitutes, at line end, for F 'direct it.' (crossed through). So Q6, etc. Q6 cuts 91 ('Nay . . . him. '); Ward A, B, 1763,1703 Folger, 89-91.
(opening): ] Neither Ff nor PB indicate a new scene here. PB does not even consider it necessary to call for the re-entry of Hamlet and the Ghost. None of the acting texts (down to Inchbald) indicates any change of scene, though Ward A and B do give a special call for the re-entry. Inchbald (1808) makes a new scene here and describes it as: 'A remote Part of the Platform.' (following Theobald). 1703 Folger notes that Hamlet and the Ghost exit 'PS' (i.e., Horatio and Marcellus follow Hamlet out 'PS') and then enter 'OP'.
20: Porcupine] Hand II crosses through F 'pentine' and substitutes, at line end, 'cupine' . So Q6, etc.
29-30: Horatio / Marcellus] Hand II.
31: fly] Hand II interlines above F 'sweep' (crossed through). So Q6, etc. (except 1703 Folger).
32-34: And duller . . . this.] Circled and crossed through. Cut Q6, etc. (except Garrick PB).
43-45: With witchcraft . . . seduce?] Circled and crossed through. Cut Q6, etc. (except Garrick PB) .
53-57: But Vertue . . . Garbage.] Circled and crossed through. Cut Q6, Ward A, B, 1763;1734 cuts 47-57; 1703 Folger, 50 ( and . . .')-57.
62: Hebena] Hand II converts 'o' to 'a' and crosses out 'n' in F 'Hebenon'. Q6, 1734, Ward A, 1763, Garrick PB, 1703 Folger read 'Hebona'; Q8, Ward B read 'Hebena', as in PB.
68-70: And with . . . bloud:] Crossed through (69 also circled) . Cut 1763, 1703 Folger; Q6, 1734, Ward A cut 69.
71-73: And a . . . body.] Crossed through. Cut Ward A, 1763, 1703 Folger.
77-80: Unhouzzled, disappointed . . . horrible:] Circled and crossed through. Cut Q6; 1734, Ward A, B cut 77, 80; 1703 Folger cuts 77. 1763, Garrick PB, 1703 Folger assign 80 to Hamlet.
90-91: Fire: Farewell, Farewell, / remember me.] Hand V (or II) crosses through F 'Adieu, adieu, Hamlet:' and places 'Farewell, Farewell,' after 'Fire:'. Q6, etc. read 'Farewel, remember me. '
92-93: Ham. Oh . . . fie:] Circled and crossed through ('Ham.' not crossed through) . Cut Q6, 1734, Ward A, B; 1763 cuts all but 'O' (93); Garrick PB cuts 'O all . . . Heav'n! ' (92) .
93: hold, hold my heart;] Hand II interlines 'hold', with a caret before F 'my'. So Q6, 1734, Ward A, B, Garrick PB, 1703 Folger; 1763 (and 1773) read 'O hold, My Heart '.
100: All saws of books,] Crossed through. Q6, etc. read 'Regis- ters' for 'saws'.
103-104: Within the table of my memory.] Hand II substitutes for F 'the book . . . heaven: ' (crossed through), interlining 'the table of' with a caret before 'the' (103) and inserting 'my memory' after 'brain,' (103). 1734, Ward A, B, Garrick PB cut 104; 1703 Folger cuts part of 104 ('Unmixt . matter; ' ).
107: my Tables:] Crossed through. Cut Q6, etc.
111: farewell] Hand II substitutes for F 'adieu, adieu,' (crossed through), and interlines with a caret before the first 'adieu,'. So Q6, etc.
132: Look you,] Crossed through. Omitted Q6, etc.
133: These are wild and windy words,] Hand II crosses through F 'but' and inserts 'windy' above 'hurling' (crossed through) with a caret after 'and'.
134: offend] PB deletes 'ed' of F 'offended'. Only Ff 3-4 read 'offended'.
135: Yes faith, heartily:] Crossed through. So 1734, Ward A, B.
142: grant] Hand II substitutes before F 'Give' (crossed through). So 1734, Ward A, B, 1763, Garrick PB.
144-145: Act / Redy] Hands II, VII.
147-148: Mar. We . . . indeed.] Circled and crossed through. Cut Q6, etc.
156: Hic & ubique?] Circled and crossed through. Omitted 1734, 1763; Ward A, B, 1703 Folger delete and substitute 'Nay'; Garrick PB cuts 150-162.
179-180: this you must / Swear.] Hand II, F 'not . . . you:' being circled and crossed through, places 'you must' after 'do:' (179) . Q6, etc. (except 1763) read as in PB; 1763 (and 1773) also cuts and reads 'this do ye swear,'.
186-187: t'expresse his kind<ne>s to you / shall never faile] Hand II interlines, above 186, 'kind<ne>s to you', F 'love . . . willing' (186-187) being crossed through, and 'never faile', with a caret after 'shall', above 'not lack' (187, crossed through). Q6, etc. read 't'express his love and friendship to you / Shall never fail,'.
191: ] 'come' has a heavy inkblot on it and may possibly be marked for deletion. 1734, Ward A, B, 1763, 1703 Folger either omit or cut the line.
191: Act Ends.] Hands II, V. This is the only notation of this kind in the PB. It is given to call attention to the cutting of 1-74 at the beginning of Act II. A similar notation is used in both the Padua and Smock Alley Macbeth PB's at the end of III.v. 1703 Folger also notes 'End of Act 2d'.
(opening): ] 'Actus Secundus.' crossed through, probably by Hand II. Hand I has placed 'Chamber' (badly smudged in cancelling) below F 'Actus Secundus.'
1-74: Enter Polonius . . . Farewell:] Circled and crisscrossed through (except 74). Hand V begins the second act with 74 ('Polon. Farewell:'), drawing a heavy line under 73, criss-crossing 1-73, and emending F s.d. 'Enter Ophelia.' to 'Act 2d. Enter Ophelia. meeting Polonius.'. In the right margin, opposite 75-78, Hand II notes 'Act 2d. / begins <here>' and 'Bed' (Hand questionable) is added above Hand I's 'Cham<ber>' (repeated here by Hand I after cancellation at the beginning of the F scene). Hand VII adds another 'Act <2>' opposite 73 in the margin. The arrangement here arrived at by Hand II leaves Polonius with a rather pointless 'Farewell:' to a Reynaldo who does not appear. Although the arrangement is possible, it seems most likely that Hand II intended to include 'Farewell:' in the cut. Q6, etc. (except Garrick PB) cut 1-74 ('. . . Farewell.'). Collier MS cuts 24-37 ('As . . . that.') . Both Garrick PB and 1703 Folger begin Act III with this scene. Ward A, B, 1763 adapt the Q or F std. and read 'Enter Ophelia. meeting Polonius', and Ward A, B, like PB, note 'Act Begins / Here' [Ward A], Act 2d. Begins / Here [Ward B]. 1734, 1763, Garrick PB give the setting as 'An Apartment in Polonius's House.'
77: sitting] Hand II interlines above F 'sowing' (crossed through). Q6, etc. read 'reading'.
79: all] Hand II inserts after F 'foul'd' (crossed through). Q6, etc. (except 1763) read 'loose' (see 80, below).
80: and down-gyved to his Ancle,] Crossed through ('and' and 'gyved' lightly circled in red pencil) . In terms of the circling, the line would have read 'Ungarter'd, down to his Ancle,'. Q6, Ward B, 1703 Folger cut 80; 1734 cuts 78 ('with his Doublet,'), 79-80; Ward A, 1703 Folger cut 79-80.
81: his knees . . . other,] Lightly circled in red pencil (as in 80 above). Probably no cut finally intended.
82: in purport,] Crossed through. Omitted Q6, etc.
83: sent from Hell] Hand II substitutes for F 'loosed out of Hell,' at end of line. So Q6, 1734, Ward A, B, Garrick PB; 1763 cuts 82-84 ('in . . . horrors:'); 1703 Folger cuts 'from hell'.
83-88: King / Queen / Rosinc<ras> / Guilde<nsterne> / Hamle<t> [crossed through] / Polon<ius> [crossed through] ] Hand II. The original inclusion of Hamlet and Polonius may have arisen from the F s.d.'s vague 'cum aliis' at II.ii. I have reconstructed 'Rosinc<ras>' and 'Guilde<nsterne>' from the forms usually used by Hand II.
84: he] Crossed through. Cut 1703 Folger.
87: wrist, & held me hard] Hand IV adds '& . . . hard' after F 'wrist,'. The phrase was omitted in Ff 2-4; included in Q6, etc. This is the first appearance in this PB of an eighteenth century hand which makes similar additions and corrections in Lear, Twelfth Night, and Merry Wives.
96: he let me go] Hand II crosses through 's' in F 'lets' and 'go' and adds 'me go' at end of line. 'me' is omitted in Ff 2-4; Q6, etc. read 'he lets me go,'.
109: scean] Hand I.
112: noted] Hand ?II transforms F 'quoted' by crossing out 'qu' and interlining 'n' above, with a caret before 'o'. Qq 6-7 read 'coated'; Q8 reads 'quoated'. Although this does not look like Hand IV, one is suspicious in as much as Warburton suggested the reading 'noted'. See 112-117, below.
112-117: I fear . . . discretion.] Crossed through. Q6, etc. cut 111-117 ('. . . discretion.') .
(opening): Court] Hand I. 1734, 1763, Garrick PB give 'The Palace.'
6-12: Since not . . . humor,] These lines are confusingly marked. 6-10 ('. . . of.') were first circled; then Hand II crossed through 10-12 ('I . . . humor,') and wrote 'I know not' at the end of 10 and '<I> <in>treat you' (with a heavy line under it) at the beginning of 11, leaving 6-9 as part of the text. 9-13 would thus read 'So much from th' understanding of himself, / I know not / <I> <in>treat you / That you vouchsafe . . . '. Q6 cuts 12; 1734, Ward A, B, 1763, 1703 Folger cut 5-7 ('so . . . was;'), 8-9 ('that himself,'), 11-12.
15-18: and to . . . remedy,] Another confused passage. 15-18 are crossed through. Hand II interlines above deleted portion of 15 '& to gather if ought'; then with a cross above 'ought' continues in the left margin with '<unk>nowne / afflic<ts> him / <t>hat lies / <wth in> <o>ur remedy.' This at least seems to be Hand II's final version. Before this, however, perhaps another Hand (though it looks very much like Hand II again) had written 'if ought' after F 'gather' in 15 (crossed through along with the end of 15); then between 'him' and '<t>hat' in the left margin presumably the same hand (Hand II) wrote (later deleted) what looks like '< > wth in / < > <rem>edy. whch' (the last word, of which the reading is uncertain, not being deleted). To add further confusion Hand IV has interlined above the deleted 18 'to us unknown afflicts him thus'. 17 is missing from Ff and Hand II has obviously tried to introduce a form of the Q line 'Whether ought to us unknown afflicts him thus, / That lies within our remedy.' 1734 cuts 15-16 ('gather. . . may'); Ward A cuts 16 and reads 'learn' for 'gather (15).
22: To shew. . . will,] Crossed through.
23-25: Polonius / Redy] Hands II, VII.
24: For the . . . hope,] Crossed through. So Ward B.
29: but We] Hand ?IV. So Q6, etc.
30: in the full bent,] Crossed through.
31: service] The final 's' of F 'services' has been deleted. So Q6, etc. (except 1734, which reads 'selves').
32: To be commanded.] Circled. Omitted Q6, etc.
34: Thanks Guildenstare . . . Rosincross,] Crossed through. Cut Q6, 1734, Ward A, 1763, 1703 Folger; Ward B cuts 34-36 ('... Son:').
51-55: Pol.Give . . . distemper.] Circled (51-52 separately) and crossed through. Q6, etc. (except Garrick PB) cut 51-85 ('. . . ended. ). Q6, 1734, 1763 also cut 40-46 (' . . . And'); Ward A, B, 1703 Folger cut 38-46 (' . . . And') . It should be noted that PB here keeps some reference to the Ambassadors, unlike all acting texts until Garrick PB.
57 s.d.-85: Enter Polonius . . . ended.] Circled (except 85), crossed through, and crisscrossed. See 51-55, above. This cut, in line with that in I.ii. 17-41, gets rid of the Ambassadors as speaking characters.
112-113: these in . . . these.] Crossed through.
116: Letter] Hand VII. Note that this call is not anticipative and that there has been no earlier call for the 'Letter'; cf.IV. vi.18. It is possible that the notation here is merely meant to reproduce the sidenote in Q6 which marks the lines as 'Letter.' opposite 107. The large star in the left margin, opposite the contents of the 'Letter', is either to indicate the lines as material to be read or simply to call attention to the introduction of the 'Letter'. Both Ward A and B include a 'Letter' in their call for Polonius.
123-124: whilst this . . . him,] Crossed through. Cut 1703 Folger.
127: by means,] Circled and crossed through.
128: All given to mine ear.] Circled and crossed through. Cut Q6, Ward A, B (and 1773).
133-135: Hamlet / Redy] Hands II, VII.
137: Or given . . . dumbe,] Crossed through, though, since the page is damaged here, it is possible that 'mute and dumbe' were not meant to be deleted. Q6, Ward B, 1763, 1703 Folger cut 137; 1734 cuts 136-139 ('plaid . . . think?') [1747 does not cut 138]; Ward A cuts 136-138 ('plaid . . . Or,) .
149-161: ] These lines are affected by the loss of the lower right-hand corner of p. 739 (sig. 3R1) . Since the first half of these lines is still intact, we can be reasonably sure that no cuts were made in PB. 158-160 look as if they were lightly crossed through, but this is the result of an ink showthrough from p. 740. None of the later versions cuts these lines, except Ward A which deletes the first half of 149 (part of a cut beginning with 147 ['then . . . '] ).
171: Ham. Well, god a mercy.] Crossed through in red pencil. Q6, etc. (except 1734) read 'Ham. Excellent well.' Q6, Ward B cut 171 ('How . . . well.'); 1734 cuts 170 ('O . . . leave.'), 171 ('Ham. Well, God o' 'Mercy.')-172 (' . . . Lord?'); Ward A, 1763 cut 170 ('Oh . . . leave.').
172: Doe you . . . Lord?] Lightly circled (in part) and crossed through in red pencil. The speech-head 'Pol.' is not cut. See 171, above.
178: ten] Hand II interlines, with a caret after 'of' for F 'two' (crossed through). So Q6, etc.
197: read] Hand IV interlines, with a caret below, above F 'mean' (crossed through). So Q6, etc.
207-218]: These lines are missing as a result of the loss of the lower right corner of p. 739 (sig. 3R1). 1734, Ward B, 1763, Garrick PB read 'Marry, that's out of the Air indeed: how pregnant his Replies are!' for 211-212 (1703 Folger reads 'that's out of the Air, Indeed!; how pregnant sometimes his replyes are!'); Q6 cuts 213-215 ('which . . . of.'); 1734, Ward A, B, 1763, 1703 Folger cut 213-217 ('which . . . Daughter.'); Ward A cuts 'of you' in 218; 1734 omits (though not 1747) and Ward A, B cut 'not' in 220; 1734, Ward A, B, 1763, Garrick PB omit or cut the first two 'except my life, except my life' in 221.
207-: Rosincr<as> / G<uildensterne>] Hand II. The calls are mutilated by the torn page.
230: both? what news?] Hand II inserts 'what news?' after F 'both?'; this picks up F 'Whets the newes.' (240) below and was added after it was decided to cut 41-44. See the next reading.
231-240: Rosin. As . . . newes.] Circled and crossed through. 'Whets the newes.' (240) may at one time have been exempted from the cut (see above). Q6 cuts 231-240 (' . . . strumpet.'); so also 1734, Ward A, B, 1763, Garrick PB, 1703 Folger, but (except for 1703 Folger) they read F 'Whets the newes.' (240) as 'Well, what news?'; Collier MS cuts 238-240 ('Faith . . . Strumpet.').
244-?: Let me . . . ] Circled and crossed through. Because of the loss of the left corner of the page, the conclusion of the cut is uncertain, PB taking up again with 'deale justly . . . ' (284-85). Q6, Ward A, B, 1703 Folger omit 244-276 ('Let . . . attended;') and 1734, 1763, Garrick PB cut the same lines; Collier MS cuts 263-272 ('. . . Shadowes:'). It seems likely, therefore, that PB also ended its cut with 276 (' . . . attended;'). The final intention in PB is somewhat confused: a single vertical line has been drawn down the center of the column from 231 to the point at which the tear begins (this would seem to imply a cancellation of everything from 231 through ?276); also at one time it was intended to include 'but your newes is not true.' (243-244) as part of the original circled cut.
267-284: ] These lines are missing as a result of the loss of the lower left corner of p. 740 (sig. 3R1v). Q6, etc. cut 281-282 ('and . . . half-peny:'). 1703 Folger uniquely inserts 'Sir I thank you--' immediately before the cut.
305: discovery; and] Hand IV inserts a semi-colon after F 'discovery' and interlines 'and' above F 'of' (crossed out). So all texts except the Ff; the semi-colon is peculiar to Hand IV, other texts insert a comma.
306: Queen . . . feather;] Hand ?IV deletes the colon after F 'Queen' and changes the comma after 'feather' to a semi-colon. So essentially Q6, etc.
309: heavily] Hand ?IV interlines, with a caret, 'i' above a deleted F 'en'. So all texts except the Ff.
312: o're-hanging, firmament] Hand IV, with a caret after F 'o're-hanging,' (the caret partially covering the comma) interlines 'firmament' above. Ff omit 'firmament'; Q6, etc. (except 1763 which omits) read 'o're-hanged firmament', but the phrase ('this . . . firmament') is cut or omitted in all except Ward B.
316: is man] Hand ?IV deletes F 'a' after 'is'. So Q6, etc.
336-338: the Clown . . . acre:] Crossed through. Omitted Q6, etc.
340-357: ] The first half of these lines is missing as a result of the loss of the lower right corner of p. 739 (sig. 3R1v). Probably nothing has been cut until 352. Collier MS cuts 343-386.
374: Polonius] Hand II.
386 s.d.: Flourish for the Players.] Crossed through. Ward A and 1703 Folger delete 'A Flourish.'.
387: Gild. There . . . Players.] Circled and crossed through. Q6, Ward A, 1763, Garrick PB, 1703 Folger read 'Guil. Shall we call the Players?'; Ward B restores the F reading.
391: this Garbe] Hand ?II deletes 'e' in F 'the' and inserts 'is'. See next reading.
391-394: lest my . . . welcome ] Crossed through. Q6, etc. (except 1703 Folger) cut 390-394 ('let . . . welcome: ); 1703 Folger cuts 390-394 ('let . . . yours;').
409: Players.] Hand II.
[In the top margin, above the second column (p. 741), some words have been written which have been badly cropped in binding. The first words are too badly cropped to be guessed at; then comes what looks like 'am' or 'an' (the rest of the word lost) and 'an' or 'err' followed by a large 'L R' or possibly 'L CR'.]
430-432: Pol. If . . . not.] Circled and crossed through. Q6, Ward B omit; 1734 cuts 429-431; Ward A, 1703 Folger add the F lines (later deleted in Ward A); Collier MS cuts 415-438 ( . . . For').
437: Rubrick] Hand II has inserted 'Rubrick' in right margin following F 'the' and crossed through F 'Pans Chanson'. So Q6, etc.
445: Ladyship] Hand ?II crosses through the 'ord' in F 'Lordship' and interlines above 'ady'. So Q6, etc.
457-467: but it . . . speech] Crossed through. 'one' is written in right margin after F 'One' (crossed through) by Hand II and another hand seems to have written ?'one' again to left of center rule preceding F 'chief'. So Q6, etc.
476-486: When his . . . seeks.] Crossed through. So Q6, 1734, Ward B; Ward A, 1763, Garrick PB, 1703 Folger retain 486.
488: Fore God,] Crossed through. Omitted Q6, etc.
489: Ham: Proceed you.] Hand V (or II) adds this speech following Polonius' speech (488-489);Qq 2-5 read 'so proceed you.' at the conclusion of Hamlet's Pyrrhus speech (487) and Q6 (and later Qq) confuse the issue by inserting 'So proceed.' as the conclusion of Polonius' speech (488-489). The confusion was the result of the cutting of 486 in the Betterton version (Q6), the 'So proceed.' at the conclusion of Polonius' speech being intended for Hamlet. The PB reading is a conflation of the two Q readings. 1734, Ward B, 1763 follow the arrangement in PB, but read Hamlet's line as 'So proceed you.'; Ward A, having restored 486, reverts to the Qq 2-5 reading (deleting the second 'So proceed.', which before 486 was restored had been assigned to 'Ham:'); Garrick PB retains both Q readings, assigning the second to Hamlet; 1703 Folger follows PB, but reads 'So proceed.'.
515-519: all you . . . fiends.] Circled and crossed through. Cut Q6, etc. (except Garrick PB).
525: But who . . . seen] Crossed through (possibly circled).
529: With Bisson Rheume:] Circled and crossed through. Omitted Q6, etc.
535-541: But if . . . Gods.] Circled and crossed through. Cut Q6, etc. (except Garrick PB).
554: Oh much better, Sr] Hand II crosses through F 'Godsbodikins man,', writes 'Oh much' above, and inserts 'Sr' with a caret after 'better.'. Q6, etc. read 'Much better,'.
575: I so, god buy'ye:] Crossed through. Q6, Ward A, B, and 1763 cut all of 575 ('I . . . alone.'); 1734 cuts as in PB and omits 'Now . . . alone.'; Garrick PB cuts as in 1734, but includes 574 ('Ros. Farewel, my Lord.'), a version of the F and Q line 'Rosin. Good my Lord.' which appears first in the 1734 cutting (a version also appearing in Ward A, B, 1763, 1703 Folger); 1703 Folger cuts as in PB, but (as in 1763 also) it transposes 572-574 ('My . . . Lord.') to follow 563 ('. . . friend,'), thus getting rid of Rosencrantz and Guildenstern and all but the leading Player before Hamlet introduces the Gonzago play.
576-578: Act / Redy] Hand VII. See below 592-593.
587-588: the motive for passion and that That I have,] Such seems to be the reading of PB. Hand II crosses through F 'and the Cue' (587) and places 'and that' after F 'passion'. Q6, however, reads 'the motive, and that for passion / That I have?' and I suspect that Hand II intended to follow Q6; however, Hand II's reading makes possible sense and is not much more awkward than Q6's. 1734, 1763, Garrick PB substitute 'that Ground' for F 'and the Cue'; Ward A, B substitute 'that cause'; 1703 Folger restores F reading.
588-589: he would . . . speech:] Crossed through, but Hand II has repeated F 'he would' after 'speech:' Cut Q6, 1734; Ward A, B, 1763, Garrick PB, 1703 Folger cut 589.
591-602: Confound the . . . it?] Crossed through. Cut Q6 (including all of 602); 1734, Ward A, B, 1763 cut 593-602 ('yet . . . be.'); Garrick PB, 1703 Folger cut 593-602 ('yet . . . it:'), inserting 'Am I a Coward�' (from 598) before 'for' (602).
592-594: Act / Redy] Hands II, VII. Repeated from above (592-593). I can see no reason for the double notation. Cf., however, IV.vii.142-144.
608-617: bloody: a . . . Brain.] Crossed through. So Q6, 1734, Ward A, B, Garrick PB; 1763 and 1703 Folger retain, but the latter reads 617 as 'Now, About my brains. I have heard', and 'Callion' in 616.
623: With most miraculous Organ.] Crossed through. So Q6, 1734.
626: tent] Hand ?II. The 'r' of F 'rent' has been converted to 't'. Correction of an error derived from Ff 2-3. So Q6, etc.
629-632: yea, and . . . me.] Crossed through. Cut Q6, etc. (except 1763 and 1703 Folger).
(opening): Act 3d. Scene 1st.] Hand II. No act-scene division in Ff. Q6 introduces the division here; so all later versions (except Garrick PB, which marks this as Act IV, Scene i). Hand VII has placed 'Act 3' in right margin just above F s.d.
(opening): Throne / 6 Chairs] Hand VI. Note that no change of scene is called for here, the 'Court' scene being continued from II.ii; none of the later stage versions indicates any change of scene.
9-10: When we . . . state,] Circled. Cut Q6; 1734, Ward A, B cut 7-10 ('Nor . . . State.').
27: and drive his purpose on] Crossed through. Originally Hand II retained F 'on' and interlined above, with a caret after 'purpose', '& vrge him' (then deleted). Q6, etc. read 'And urge him', deleting 'on'.
30-31: may here meet with / Ophelia.] Hand II deletes 't' in F 'there', places 'meet with' following 'here', and crosses through 'Affront' (31). Q6, etc. read 'may meet Ophelia here; '.
32: (lawfull espials) ] Crossed through. Cut Q6, etc.
35-37: if this / Strange Lunn'cy / proceed from Loue / or no.] This is Hand II's substitution for F 'And gather . . . for.' (35-37). The point of insertion is marked by a small cross in the left margin opposite 35, and another small reference cross follows 'this' in Hand II's version. Note that Hand II's call for 'Hamlet', which originally followed 35, has been deleted, presumably in the process of adding the alteration. As a result there is no call for Hamlet's entry at 56 below. Q6, 1734, Ward A, B cut 35, 37.
44-54: Read on . . . burthen!] Circled and 50-53 crossed through (the circling seems to have been done in two stages). Apparently only 50-53 were finally cut, though Q6 (followed by 1734, Ward A, B, 1763, 1703 Folger) cut the lines as circled in PB (Ward B and 1703 Folger preserving 'read on this Book.'  ) . Note that PB does not follow Q6 (and all later versions) in reading 43-44 ('Gracious . . . selves: ') as 'whilst we (If so your Majesty shall please) retire conceal'd;', a reading introduced by Q6. Collier MS cuts 46 ('We � � . ) -54.
102: ] The scrawl following this line seems to have no significance.
135-139: <K>ing / <Po>lonius. / Redy] Hand II ('Redy' Hand VII). Entry marked below (169) with crossed line in left margin.
164-168: That suck'd . . . extasie.] Circled (166-167 ['and . . . youth,'] separately in a light ink) . It is possible that F 'tune' in 166 has been blotted out (though I suspect that the blotting is the result of a deletion on the facing page ); at any rate, in the same light ink as the circling of 166-167, some hand has written a word in the left margin opposite 165, the last letters of which seem to be 'est' or 'ost', preceded by an 'f' or 't'. Q6 cuts 164; 1734, 1763 cut 159, 161, 164, 167-168 ('. . . Extasy.'); Ward A cuts 159, 161, 164; Ward B cuts 159-168 ('. . . Extasie.'), though originally it is cut as in 1734; 1703 Folger cuts 159.
173-175: <>danger = / which to prevent,] Hand V crosses through 173-175 ('O're . . . danger,), places '<> danger =' at the beginning of 173, whith a small cross above F 'soule,' (172) to indicate a point of insertion, and crosses through F 'how' (175). The word missing before 'danger' is probably 'some' (cf. 175). 1734, Ward B cut 172-177 ('there's . . . down:'); Ward A cuts 171-177 ('. . . down:'); 1763 cuts 172 ( There s . . .') -176.
175-176: <H>amlet. / <Pl>ayers.] Hand II.
179-183: Haply the . . . on't?] Lightly circled (in part) and crossed through. Ward A cuts 178-183 ('For . . . himself.').
(opening): ] Neither F nor PB indicates a new scene here, nor is there any indication of a new setting in PB. So Q6, etc.
68-73: King / Queen / Polonius / Ophelia. / Redy] Hand II ('Redy' Hand VII). Point of entry marked with crossed line at 96.
79-80: Rosincras / Guildensterne.] Hand II. At first glance this looks like a separate call, but there is no indication of a separate entry below; exigencies of space forced Hand II to make this division in his call for the state entry at 96.
96 s.d.: ] Note that PB makes no provisions for the F 'Danish March.' or 'Flourish.', though they are not deleted in the F s.d. Q6 calls for 'Trumpets and Kettle Drums'; Ward A, calls for 'Flourish / Throne / Chairs' and marks the actual entry as 'Discover'd', deleting 'Enter' in Q s.d.; Ward B calls for 'a Flourish'; 1703 Folger marks the entry as 'Discoud'.
121-122: Ham. I mean . . . Lord.] Circled. Omitted Q6, etc.; Collier MS cuts 119-128.
124-128: Ophe. I think . . . Nothing.] Circled (127-128 separately) . Cut Q6, etc.
131: Prolog<ue> ] Hand II. The positions of this and the following call show clearly that the deletion of the 'dumbe shew' was marked before Hand II wrote in these calls. 'Lucianus' is called for the Prologue in Ward B.
135-136: fop Kin<g> I fop Que<en>] Hand II. I do not know the exact meaning of 'fop'. Ward A, B call for 'player King / and Queen', though Ward A prefixes 'Mock' to their speech-heads. 1734, 1747, 1763 call them 'Player King' and 'Player Queen'.
142-145 s.d.: or else . . . love. Exeunt.] Circled. Cut in Ward A, B, 1703 Folger; Q6 cuts 142 ('or . . .')-145, leaving Dumb Show untouched; 1734 and Garrick PB cut 142-145 and omit Dumb Show; 1763 omits both.
146: means the Play] Hand II blots out F 'this' and, with a caret after 'means', inserts 'the Play' above. So 1734, Ward A, B, 1763, Garrick PB, 1703 Folger.
149: But what's] Hand II inserts 'But what's' above F 'Belike this shew imports' (crossed through). So 1734, Ward B, 1763, Garrick PB, 1703 Folger; Ward A reads 'But what imports'.
152: shew all] Hand II crosses through F 'tell all', inserting 'shew all' after it. So 1734, 1763, Garrick PB, 1703 Folger; Q6, Ward B read 'shew all straight.'; Ward A reads 'tell all.'.
153: Are they go<od at> showes] Hand II crosses through 153 ('Will . . . meant?') and inserts 'Are . . . showes' in opposite right margin. 1734, 1763, Garrick PB, 1703 Folger read 'Are they so good at Shew, my Lord?'; Ward A, B read 'Are they so good at shew?'. Note that these last three readings connect PB with a theatre tradition other than that of Q6. Collier MS cuts 153-158.
154: at] Hand ?II converts F 'or' into 'at'. So 1734, etc. (except Q6).
158: mark] Hand II crosses through F 'make' and interlines 'mark' above. So Q6, etc. ('make' is an error of Ff 2-4).
165, 183, 196, 235: Plaier or Pla:] Hand V substitutes one of these forms for the F speech-head 'King.'. The speech-heads for 'Quee.' are not distinguished. See 135-136 above. For the F std. at 164, 1703 Folger reads 'Enter King and Queen. from the top.'.
166-168: Neptunes salt . . . been,]: Circled. Cut Q6, 734, Ward A, B, 1763; 1703 Folger cuts 167-168.
179-180: Now what . . . so.] Circled. Ward B appears to cut 177-182.
192-195: Quee. The instances . . . Bed.] Circled. Cut 1734, Ward A, B, 1763, 1703 Folger; Q6 cuts 194-195.
198-209: Purpose is . . . accident.] Circled. Q6 cuts 206-209; 1734, Ward A, B cut 198-223; 1763, 1703 Folger cut 198203, 206-223.
214-223: The great . . . own.] Circled. Cut Q6; see 198-209 above. Ward A links 197 and 224 with 'So'.
218: <Luc>ianus.] Hand II.
230-231: Each opposite . . . destroy:] Circled. Ff omit 228-229. Q6, etc. cut 228-231 (except Garrick PB).
241: ] F 'but' appears to be blotted in this line, but I suspect that the 'deletion' is nothing but an ink off-print from the facing page (747); it is impossible to be sure, however, since that corner of p. 747 is torn away.
258-260: Ophe. You are . . . edge.] Circled. Q6 cuts 258; 1734, Ward A, B, 1763, Garrick PB, 1703 Folger cut 258-262 ('. . . Husbands.'); Collier MS cuts 256-262.
262: So you . . . Husbands.] Circled. Cut Q6, etc.
277: What, frighted with false fire.] Circled and crossed through. Omitted Q6, Ward A, B, 1703 Folger; cut 1734: 1763 omits 277-278, combining 278 with 281 after 280.
290-291: Rosincras / Guildensterne.] Hand II.
359-]: A tear in the lower right corner of p. 747 (sig. 3R5r) affects the text of III.ii.359-380 ('Proverbe . . . thing'), 408 ('blood, . . .')-417; III.iii. 1-25. Nothing appears to have been cut in 359-380; 1763 cuts 360-361 ('Let . . . you,'); all but Q6 and PB introduce Horatio in the place of F 'Enter one with a Recorder.'(Q6 reads 'Enter the Players with Recorders.'). Ward A arms Horatio with a 'Flute'; Ward B with 'a pipe'. The advance calls for Polonius (entries at 389 and III.iii.26) have probably been lost. Nothing seems to be cut in 408-417, but how much was cut in III.iii.1-25 it is impossible to know (certainly :5). Q6 cuts 11-23; 1734, 3-23; Ward A, 2-24 ('you . . . Arm you'); Ward B, 7 ('We . . .')-23; 1763, 3-26 ('. . . free-footed'); 1703 Folger, 3-24 ('. . . pray you') .
380: Act [deleted] / King / Rosincr<as> / Guilde<nsterne>] Hand II ('Act' Hand ?II).
(opening): ] Hand I, at one time, marked this as 'Act 4th Scene 1 [st]', but later deleted it; note deleted 'Act' at III.ii. 380 above. Ff, Q6, etc. mark no scene break here.
26: Which now goes too free-footed.] Crossed through. See III.ii.359.
37: first &] Hand II first crossed through F 'primal!' and interlined 'first &' above, then crossed this through and placed 'first &' in left margin at beginning of line. Omitted Q6, etc. (except 1703 Folger which inserts 'Primal').
37-38: Hamlet / Redy] Hands II, VII.
40-64: My stronger . . . evidence.] This is a most confusingly marked passage: 40-43 ('. . . neglect;') crossed through and partly circled; 43-64 circled, but with 'Stet (?Hand) written in at end of 43; 46-55 ('whereto . . . Queen:') crossed through and partly circled (cross placed at end of 47 to indicate some substitute lines perhaps written in left margin, now torn away); 57 (partly missing because of the tear) emended by crossing through of F 'currants' (perhaps also F 'corrupted'), with a cross above deleted 'currants' (to indicate place of insertion for emendation' presumably written in left margin), Hand II placing 'he may' after F 'world,' (the line reading something like 'In the <corruption> of this world he may'); 58 crossed through. Only lines crossed through are actually deleted. Q6 cuts 57-58; 1734, Ward B, 1703 Folger, 48-50 ('. . . down?) (1734, 1763 also cut 69 [ Help . . . assay,'] ).
46-]: A tear in the lower left corner of p. 748 (sig. 3R5v) affects the text of III.iii.46-88 and of III.iv.25-45. After III.iii.63 and III.iv.30 it is impossible to guess what may have been cut, though probably nothing in the second group of lines. All the acting versions use Q6's version of 73-79 (except 1763 and 1703 Folger which cut everything in the scene after 72, thus omitting Hamlet's soliloquy entirely); 1734 cuts 80 ('full of Bread,'); it is worth noting that PB cuts nothing in the last part of Hamlet's soliloquy, whereas Q6 cuts 93-95 (. . . goes: ); 1734, Ward B cut, 91 ('At . . . Swearing,'), 94-95 ('. . . goes:'); Ward A, as Ward B but including 93. In III.iv. 95-45 Q6, 1734, Ward A, B cut 37-38.
89: Hamlet Redy] Hand VII. This is Hand VII's early advance call for Hamlet's entry at III.iv.7, a call already entered by Hand II at the beginning of III.iv.
(opening): Chamber] Hand I. A crossed line marks point of entry for Queen and Polonius (the call by Hand ?II being lost with the mutilation of left lower corner of p. 748). Neither Ff nor Qq indicate any new scene here; nor do the acting versions call for any change of scene. Ward A contains here the interesting notations : Hamlet / 2 pictures' and 'Two chairs on below / ye long trap'.
1: Hamlet] Hand II. Point of entry marked by crossed line at 7; see III.iii.89.
19: I here set] Hand II inserts, with a caret, 'here' above F 'I'. Some change in F was metrically necessary after F2 dropped 'you' after 'set'. It is interesting to note that 1703 Folger adds 'within there!' at the end of 17, showing that the Queen actually calls for assistance at this point.
24: me, what hast] Hand II inserts, with a caret, 'what' after F 'me,'. 'what' omitted in F3 only.
59-59: A Station . . . hill:] Circled. This passage, and the others through 151-155, are circled in a lighter ink. Cut Q6, 1734, Ward, A, B.
90-91: And there . . . Tinct.] Circled. Cut Q6, etc.
93-94: honying and . . . Stye.] Circled. Cut Q6; 1734 cuts 94 ('. . . Sty.'); Ward A, 1763, 1703 Folger, 93-95 ('Stew'd . . . ears,'); Ward B, 93-94 ('Stew'd . . . stye.'), 95; Garrick PB, 94-95 ('to . . . Ears.' [though 'Daggers . . . Ears.' does not seem to be crossed through] ).
118-122: And with . . . end.] Circled, but later marked 'Stet' in red pencil. Q6, 1734, Ward A, Garrick PB, 1703 Folger reduce 121 to 'Your hair'; Ward B, 1763 cut 119-122 ('. . .end ').
151-155: And doe . . . good.] Circled. Cut Q6, etc.
185: Act / Redy] Hands II, VII.
188-196: 'Twere good . . . down.] Circled. Q6, 1734, Ward A, Garrick PB cut 188 (' 'twere . . .')-196, 202-210; Ward B, 1763 cut everything after 179; 1703 Folger cuts 180 ('good . . .')-199, 202-end, placing 172 ('for . . .')-179 after 201 as concluding lines for what it calls Act IV.
217: <ri>ng] ?Hand.
(opening): <A>ct 4th Scene 1st] Hand II. So Q6, etc. (except Garrick PB and 1703 Folger, which here begin Act V); no act division in Ff; Collier MS marks as 'Act 4 Sc. 1'.
(opening s.d.): Enter King: and quen] Hand III inserts 'and quen' after F 'King.', converting F period into a colon.
Court] Hand I. 1734, 1763, Garrick PB give the setting as 'A Royal Apartment.' (following Rowe).
1-2: These profound . . . translate:] Circled and crossed through. 1734, 1763 cut 1 ('these profound Heaves,') and substitute 'expound them:' for F 'translate:'; Ward A cuts 1 ('these . . .')-2; Ward B, 2; 1703 Folger, 2-6 (' 'tis . . . Gertrard,').
14-23: His Liberty . . . life.] Circled and crossed through ('out' [Hand II] has been written in left margin opposite 15-16 and what may be either 'out' or 'stat' [?Hand] below, opposite 17-18) . So 1734, Ward A, B, 1763; Q6 reduces 18 to 'Should have restrain'd'. Both Garrick PB and 1703 Folger replace F 'foule' with 'dire' in 21.
25-27: O're whom . . . pure.] Circled. Cut Ward A, B; 1734, 1763 cut 25-27 (27 complete); 1703 Folger cuts 25-27 ('like . . . he').
28: <Ham>let.] Hand II. Hand II has also written 'Ham' opposite the end of 27 and deleted it.
29-33: A single line appears to have been drawn opposite these lines in the left margin but it is merely an offprint from a deletion on the facing page (751).
37: <sc>ean] Hand I. Advance call for new scene ('Chamber') at IV.ii.
38-45: Come Gertrude . . . dismay.] Crossed through. Lines 41-44 ('. . . air.') not in Ff. Q6 cuts 43-45; 1734,40 (So, haply, Slander, . . .')-45; Ward A, B 1703 Folger, 41-45,; 1763, 38 ('we'll . . .')-45; Garrick PB completes 40 with 'for slan'drous Malice' and places 41-43 ('. . . Shot,') in parentheses.
(opening): Chamber] Hand I. new scaen] Hand VIII. Ff, Q6, etc. indicate no scene break or change of scene here. This is the first appearance of Hand VIII and it is not clear what 'new scaen' means, i.e. whether it refers in some way to 'Chamber' or looks forward to the later change for scene iii ('Court') . Cf. V.ii (opening).
9: King -] Hand II. There is no call for the entry of Rosencrantz and Guildenstern at 5 above.
19: scean] Hand I. Call for new scene ('Court') at IV.iii.
29-31: Ham. The body . . . Lord?] Circled. Q6, 1734, Ward A, B, 1763 cut 29-32 ('. . . nothing,'); Garrick PB, 1703 Folger, 29-30 ('. . . Body:') . PB's retention of 'Of nothing,' in 32 makes no sense.
32-33: hide Fox, and all after.] Circled. Omitted Q6, etc.
33: Rosincras] Hand II.
(opening): Court] Hand I. Ff, Q6, etc. indicate no scene break or change of scene here; Collier MS marks as 'Scene 2', having ignored scene ii above (it also fails to mark scene vii).
3: yet must we / not lay our strict / justice on him] ?Hand V (perhaps Hand II) inserts this to left of F 'Yet . . . him:' (crossed through), with a small cross at end of 2 and another before 'yet' (of insert) . Ward A cuts 3-11 ('. . . all').
3-5: Hamlet / Guildester] Hand II. The form 'Guildester' must represent a slip, of the pen.
4: He's so lov'd] ?Hand V interlines 'so', with a caret, after F 'He's'.
6-11: And where . . . all.] Crossed through, 6-7 also circled. Ward A cuts 3-11 ('. . . all.'); 1703 Folger, 7-11' ('to . . . all.').
8: Officers] Hand II. Although this call and that for Hamlet and Rosencrantz at 3-5 above are separated, they are, I believe, part of the same call, indicating that Hamlet entered at 17 under the guard of 'Officers' (as 14 suggests) . There is nothing in the Ff s.d.'s to indicate this; the Qq have 'They enter.' at 16, which, since Guildenstern is already entered as part of 'all the rest' at 10, implies attendants of some kind. Ward A, B call the 'Officers' 'Attendants'; 1734, 1763, 'Guards'. Edited texts all leave the 'business' here to 'Attendants' (when they list anyone as entering with Hamlet and Guildenstern); the police effect of the 'Officers' preserves a detail of the seventeenth-century stage effect otherwise lost, an interpretation of the situation which apparently carried over into the eighteenth century.
22-23: Your worm . . . Beggar.] Circled and crossed through. The state of PB is peculiar in the marking of 22-31; the final words in each line show no sign of deletion of any kind, though there is a hint of a deletion mark above 'Your' (22) . The lower right corner of sig. [3R6] has been torn at some time and it is possible that it has been restored from another copy, but I do not think so. Cut Q6, etc.; Collier MS 31-33.
45: wth sped] Hand II substitutes 'wth sped' for F 'With fiery quickness,' (crossed through). Omitted Q6, etc. (except Garrick PB).
46-47: the wind is fair / and every thing made fit] Hand II crosses through F 'at help, Th' Associates tend,' and substitutes 'is fair' after F 'help,'; then, crosses through F 'at bent' and substitutes 'made fit' following it. Q6, etc. (except Garrick PB) substitute 'sits fair,' for F 'at help,' and cut 47 (except Garrick PB and 1703 Folger).
48: Horatio Queene] Hand II.
56: close] Hand II substitutes 'close' for F 'at foot,' (crossed through). Omitted Q6, etc. (except Garrick PB). 1703 Folger for some reason tacks on 'England ho!' at the conclusion of Hamlet's preceding speech.
58-70: And England / if our / present / love thou / holdst / at ought / let it be / testify'd / by Hamlets / death.] Hand II substitutes these lines to right of F 'Away . . . begun.' (58-70; circled and crossed through). Hand II also seems to have written 'out' above his own 'our', but deleted it. PB has a small portion torn out affecting parts of 67-70 and the s.d. at the beginning of scene iv. Q6 cuts 59 ('pray . . .') -70; 1734, 59, 61-66, 67 ('do . .')-70; Ward A, B, 1763, 59, 61-70, concluding the scene with: 'And England, if my present love thou holdst at ought, / Let it be testified in Hamlet's death.'; Garrick PB cuts 61-67 ('. . . Hamlet;'), 69 ('till . . .')-70, retaining 'present' in 60 and inserting 'Let it be testified in Hamlet's death' after 60; 1703 Folger cuts everything after 56 ('Tempt . . .'), though originally it cut only 61-67 ('. . . Hamlet,') and inserted 'Let . . . death' after 60.
1 s.d-8: Enter Fortinbras . . . on.] Circled (as part of the preceding cut) . These lines, which are all that appear of scene iv in the Ff, are not crossed through (though the concluding lines of scene iii included in the circling are); that they were cut, however, is shown by the lack of any call for either Fortinbras or his army. Q6, 1734, Ward A, B, 1763 cut the whole scene; Garrick PB and 1703 Folger cut out Fortinbras along with 1-8, but they include substantially all the remainder of the scene, substituting Guildenstern for the Q Captain (1703 Folger reverses the roles and substitutes Rosencrans for the Captain; see a full account of the relation between the Garrick PB and 1703 Folger in the Introduction, p. 9, n.22) . Collier MS cuts as in PB.
(opening): Chamber] Hand VIII. No specific change of scene in Q6, etc.
(opening): Ophelia.] Hand II. Entry marked with crossed line at 21. Note that Ophelia enters unattended here and in Q6, etc.; Johnson sends Horatio to bring her in. 1703 Folger gets rid of Horatio and begins the scene as follows: 'Scene / Enter King & Queen PS. / King: See where She comes--it is a piteous Sight. / Queen. O She Cleaves my heart--her distemperd mind / Communicates Infection to my own. / Enter Ophelia distracted / Where is the beauteous &c' (this is the final version; originally the dialogue between the Queen and the Gentleman had been divided between the Queen and Claudius; perhaps this may actually represent Garrick's final version; see Introduction, p. 9, n.22).
4-13: says she . . . unhappily.] Circled, but marked 'Stet' by Hand II. Q6 cuts 9 ('they . . .')-13; 1734, 9 ('they . . .')-10, 12; Ward A, 4-13; Ward B, 2-13; 1763, 3 ('What . . .')-13 (repeating 1 ['I . . . her.'] in place of 3 ['What . . . have?']); see preceding entry for 1703 Folger.
15-16: King / Redy] Hands II, VII. Entry marked with crossed line at 36.
44: God be at your Table.] Circled. Omitted Q6, etc.
59-66: By Gis . . . bed.] Circled (the first four lines apparently as an afterthought). Q6 cuts 52-55, 63-66; 1734, 59-66 (inserting 56-58 after 51); Ward A, 52-55 63-66 (at one time inserting 56-58 after 62 [later deleted]); Ward B, 63-66; 1763, 1703 Folger cut, 59-66 (inserting 56-58 after 51); Garrick PB retains everything, but inserts 56-08 after 51.
63-65: Messenger / Redy] Hands II, VII. Entry marked by crossed line at 96.
77-94: All from . . . ear.] Circled and crossed through (except some few phrases in 80, 82-84); Hand II substitutes, following 76-77, /, 'from her <?n>eg < >Fath<er >'. Two other words, in ?another hand, have been written below, but they are illegible: the first appears to begin with 'N' and the second (below) with 'b' (the following letter may be 'e'). Q6 cuts 92-96 ('. ear:'); 1734, 77-96 ( O . . . Death. ); Ward A, 76-96 ('O this . . . death.'); Ward B, 1703 Folger cut, 77-96 ('and now . . . death.'); 1763, 77-98 ('O . . . matter?'); Garrick PB cuts, 92-96 ('. . . Death.'), altering 'violent' to 'frantic' (80) and inserting 'Her Brother tempest-beaten back to Denmark' in place of 88.
86: <Laer>tes / <Re>dy] Hand VII. Entry marked by crossed line at 111.
93: ] PB, left margin, shows what may be the remains of a call for Laertes by Hand II.
94: O my dear Gertrude, this, & other troubles] Hand II inserts '& other troubles' after F 'this,'.
96 s.d.: Messenger. Trefusis.] Hand VI inserts 'Trefusis.' after F 'Messenger.'. For Trefusis, the actor who played the Messenger, see Introduction, p. 1. In the left margin, PB shows the remains of what may again (see 93 above) be a call for Laertes by Hand II. However, it is possible that both these illegible calls have reference to offstage 'noise' heralding Laertes' entry.
97: Where are . . . door.] Partly circled and crossed through. So 1734, Ward A; 1763 cuts 77-98 ('O . . . matter?').
98: ] PB has a small cross in left margin opposite this line; unless it is connected with offstage noise, I cannot explain it.
99-100: The Ocean . . . haste] Circled. 1734 cuts 98-101 ('Save . . . Than'); Ward A, 98-111 ('Save . . . broke.'); Ward B 99-101 ('. . . Than'); 1763, 99-101 ('. . . Then').
101: The young Laertes] F 'Then' has been altered to 'The', allowing for the deletion of 99-100. The word is cut by 1734, Ward A, B, 1763.
103-106: and cry] Lines 103-105 have been circled and criss-crossed; Hand IX inserts 'and' before F 'They' (deleted) and crosses through F 'choose we'. 1734 cuts 103-106; Ward A, 98-111 ('Save . . . broke.'); Ward B, 1763, 103-105; Garrick PB, 105.
109-110: Quee. How . . . Doggs.] Circled and crisscrossed. Cut Q6, etc. This common cut gets rid of an ambiguity in the Queen's attitude at this point.
113-114: ] PB has a small star placed in left margin opposite the first part of 113 and below, in Hand ?II, two only partly legible words '< >er' and '< >se'. The first word may possibly be 'Enter' and the second an actor's name (though I can connect what remains with no actor at Smock Alley at this time); if so, then the star probably marks actual point of entry for Laertes (despite the crossed line marking his entry at 111) . If we accept this interpretation, it raises difficulties with my later identification of Williams as Laertes (see V.ii.153). Another explanation may be that the two words should be read as 'her noise' and that the star indicates the point for the noise (this would link the star with the one above at 98).
123-125: Divinity about a king / That treason can but offer at wt. / it would. / Tell me Laertes, Only 125 is circled; Hand II substitutes 'about', point of insertion marked with a cross, for F 'cloth hedge' (deleted) and 'offer at wt. / it would.' for F 'peep . . . will.' (124-125; deleted); the last part of 125 ('Tell me Laertes,') was thus meant to be retained. Q6 reads 'divinity cloth hedge a King, / That treason dares not reach at what it would, / Acts little of his will: tell me Laertes'; 1734, Ward A, 1763 cut 125-126 ('. . . incens'd?'); Garrick PB cuts, 125 ('Acts . . . Will.'); 1703 Folger, 125-126 (all employing the wording of Q6 in 124).
129-130: <Op>helia / <R>edy] Hands II, VII. Beginning with 126 to bottom of first column a more or less transparent mending paper has been pasted over the text.
132-133: Conscience and . . . Damnation:] Circled. Cut Q6, 1734, Ward B, 1763, Garrick PB, 1703 Folger; Ward A cuts 131-33 ('. . . damnation,').
135: Let come what comes:] Circled. 1734, 1763 read 'will' for F 'comes' (1747 reads 'will' and omits F 'only', both corrected by Garrick).
139-143: Good Laertes: will you in revenge / Of your dear father's death, destroy both friend and foe,] Hand II inserts 'will you in revenge' after F 'Laertes:', crosses through 140-141 ('If . . . draw'), and interlines 'destroy' above F 'draw' with a caret; 'Good Laertes:' and 143 ('Winner and looser.') are circled (143 also crossed through) . It would appear then that 'Good Laertes:' was not included in the cut, but it should be noticed that Q6, which reads the lines as in PB, omits 'Good Laertes:'. The later versions all follow Q6. Collier MS cuts 139-147 ('Good . . . that?').
147-148: you speake / Like a true] Hand II inserts 'you speake' after F 'that?' (147), deleting F 'what noise is that?' and interlines 'a' before F 'true' (148), deleting F 'a good child, and a'; Hand ?II had earlier inserted 'you speak' above 'noise that?', marking point of insertion with a cross before 'what', but deleted it. Q6 (and F') read 'you speak / Like a good child, and a true', followed by 1734, Garrick PB; Ward A, B, 1763, 1703 Folger read as in PB.
151: clearly to your Judgement shew] Hand II interlines 'clearly' above F 'level' (deleted) and inserts 'shew' after F 'pierce' (deleted) . Q6, etc. read 'lye' for 'pierce', except Garrick PB.
152: ] Following F 'eye.', PB has what looks like 'Call Op', later deleted, (Hand ?II). Either Hand ?II began to add 'Call Ophelia.' to the end of the King's line or the notation was meant to indicate calls of 'Ophelia' as part of F 'A noise within.'. In this connection, it is significant that 1734 adds, after the King's speech 'Within. O poor Ophelia.', so, perhaps, what Hand ?II started to write was 'Call O p'. Ward A adds 'poor Ophelia!' to the end of the King's speech; 1763 gives 'O poor Ophelia!' to Horatio 'Within.'; and Garrick PB transfers the words to Laertes, adding 'My' before 'poor'. Something like 'Op' has been faintly written in below the F s.d. 'within.'.
154-155: Oh heat . . . eye.] Circled. Q6 cuts 153-156 ('. . . heaven'); 1734, etc. cut 153-155.
161-163: Nature is . . . loves.] Circled. Omitted Q6, etc. (and Collier MS).
171: you may call] Some Hand, perhaps II, has inserted 'may', with a caret, above F 'call'.
172: Oh, how . . . become?] Lightly circled. Some Hand, perhaps II, has written what looks like '<t>hat', the initial 't' being lost in the F '?', after 'become?', probably in an attempt to make sense of the F3 reading. Whether a cut was finally intended here is not clear. Ward B cuts 'Oh . . . becomes it,'.
174-180: ] A tear in the PB has been mended by a piece of paper pasted over the last half of these lines; nothing, however, seems to suggest any cutting.
194-196: Horatio / Servant / Redy] Hand II ('Redy' Hand VII). Point of entry marked with crossed line at IV.vi.1.
199: Gramercy on his Soul.] The cutting is not clear: 'Gramercy' is crossed through, and apparently 'on', but 'his' and 'Soul' are barely touched. The difficulty lies in PB's retention of 'And of all Christian Soules' in the line below, which makes no sense without some version of 199's reference to 'Soul'. Q6, etc. read (for 199-200) 'And peace be with his soul and with all Lovers souls.'.
200-201: I pray . . . gods?] Circled (speech-head 'Laer.'  not included). Omitted Q6, etc. (200 complete). Garrick PB and 1703 Folger will not be cited after this point (see Introduction, p. 9, n.22).
202-203: I must . . . right:] Circled and crossed through.
204: Saylor] Hand II.
211: scean] Hand I. Call for change of scene ('Castle') at IV.vi.
(opening): Castle] Hand I. Ff, Q6, etc. do not mark a new scene here. Capell first gives a new setting: 'Another Room in the same.'.
6-7: King. / Laertes.] Hand II.
18: letter] Hand VII. Note that there is no advance call for the 'letter'; cf. II.ii.116 and IV.vii.45. Ward A has an advance call at IV.v.174: 'Sailors / wth Letter / writ', and places the text of the letter in brackets with 'writ' in the right margin, indicating that the letter was actually read from a prepared copy; Ward B gives only the marginal 'writ'.
27: scean] Hand I. Call for change of scene ('Court') at IV.vii.
(opening): Court] Hand I. Ff, Q6, etc. do not mark a change of scene here.
6: feares] Hand IX alters F 'feats', converting 'ts' into 'r' and adding 'es'. 1734, 1763 read 'Crimes'.
10: weak] Hand ?II (or ?V) crosses through F 'much unsinewed' and, following, substitutes 'weak'. So Q6, etc.
14: pretious to] Hand V crosses through F 'conjunctive' and, marking place of insertion with a cross, inserts 'pretious to' at end of line (F 'to' not deleted in error) . Q6, 1734, Ward B read 'is so precious to'; Ward A cuts 12-18 ('and . . . love'); 1763, 12-16 ('and . . . her.').
15: yts all] Hand ?II writes what looks like 'yts all' to the left of this line; the reading is doubtful. The words seem to have no possible connection with the actual text, either here or at IV.v.211 opposite; they may mean that the King's speech is to be cut beginning at 16 ('The . . .'), but I know of no other similar notation in the Smock Alley prompt-books.
16: Messenger] Hand II.
16-24: The other moti<ve is> / the great love <the> / people be<ar> / him.] Hand II, 16-24 ('The . . . them.') being circled and crossed through, inserts the above version in the right margin. Q6, 1734, Ward B cut 21-24 (1734 probably does not mean to cut the first part of 21); Ward A cuts 12-18 ('and . . . love'); 1763, 21 ('So . . .')-24. Q6, etc. all read 'the people' for F 'general gender'.
35: And that . . . imagine ---] Circled and crossed through. Cut Q6, etc.
35 s.d.: Messenger. Trefusis.] Hand VI inserts 'Trefusis.' after F 'Messenger.'. See above, IV.v.96 s.d.
43-44: Let<ter>] Hand VII. See above IV.vi.18. Ward A has an advance call at 5 above: 'Messenger / wth Letters / one writ', the letter in the text being marked 'writ' in right margin; Ward B, again, has only a marginal 'writ'.
63: dislikeing of] Hand ?II crosses through F 'As checking' and alters F 'at' to 'of'. Q6, etc. read 'As liking not'.
64-65: ] There is a small curved line to the right of these lines.
88-89: As had . . . thought,] Circled and crossed through. Ward A cuts 84-91 ('. . . did.').
90: That I . . . tricks,] Crossed through, but marked 'Stet' (Hand II) in left margin.
94-95: is indeed / The Gemme] Hand II crosses through F 'the Brooch' in 94 and F 'And' in 95, writing 'The' before it. So Q6, etc.
107: What] Hand II alters F 'Why' to 'What'. So Q6, etc. (though 1763 reads 'What of'). Note that Ward A, 1763 read the first half of 101 as 'To see Laertes match'd:'.
113-114: And that . . . it:] Circled and crossed through. Q6, etc. cut 112-114 and the other lines found only in the Qq through 114 ('. . . easing:').
128-129: Murther Sanctuarize . . . bounds:] Partly circled and crossed through. Q6, etc. read 'protect a murderer', but do not cut 129.
135-136: remiss, / Most] Crossed through.
142-144: Act / Redy] Hand VII.
162: sword] Hand II crosses through F 'stuck' and substitutes 'sword' following it. So 1734, Ward A, 1763.
163: how now sweet Queen.] Circled and crossed through. Cut 1763; Q6, 1734, Ward A, B, read 'But stay, what noise?'; Ward A, 1763 read the first part of the line as 'It shall be death:'.
166-185: Laer. Drown'd. . . drown'd.] These lines are marked off by heavy lines drawn across the right column from rule to rule; within this larger cut 168 and 178-181 ('. . . element:') were first separately circled and 172 and 183 ('from her melodious by,') crossed through. That the whole passage was finally meant for deletion is shown, I think, by the fact that the original 'act' call which comes opposite 179-180 has been supplemented by another call at 142-144 (see above) . Q6 cuts 171-172, 176 ('her . . . ) -178; 1734, 1763 cut, 171-172, 176-184 ('her . . . Death.'); Ward A, B, 168, 171-172, 176 ('her...')-185.
179-180: Act] Hand II. After the cutting of 166-185 this 'act' call was superseded by an earlier one at 142-144.
189-190: when these . . . out.] Circled. Cut Q6, etc.
(opening): Act 5th Scene 18'. Act 5] Hand II (second 'Act 5' Hand VII).
(opening): Towne] Hand I. No advance call for a change of scene, because at the beginning of a new act. No act or scene marked in Ff; Q6, etc. begin Act V at this point (excluding, of course, Garrick PB and 1703 Folger); Q6, etc. give no setting, though Ward A has the interesting notation 'Long Trap open, Earth, Sculls and Bones in it.'; Rowe gives the setting as 'A Church.' and Capell as 'A Church-yard.'.
(opening): hamlet Horatio] Hand VII. This anticipates another call for Hamlet and Horatio (Hand II) below at 45.
96-98: Ham. Why . . . Spade,] Circled. Cut Q6; 1734 cuts 90-98 ('. . . Spade;'), 99 ('we . . . see't:'); Ward A, B cut, 90-101, but Ward A restores 98-101 ('here's . . . on't.'), except 99 ('and . . . see't;'); 1763 cuts, 90-101.
122-126: Hor. Not . . . that.] Partly circled. Q6 omits 115-116 ('Is . . . Recoveries,') and cuts 123-126; 1734 cuts 115-117 ('Is . . . Dirt?'), 123-126; Ward A, B, 1763 cut 112-126 ('hum . . . that.').
206-208: ] A call, shaved away except for the last letters of two words, for the entry of the King, Queen, and Laertes, etc. appears opposite these lines.
223: <sce>ane] Hand I. Call for change of scene at 241 below.
240 s.d.: Church] Hand I. No indication of change of scene in Q6, Ward A, B; 1734, 1763 note 'Scene draws, and discovers the King, Queen, Laertes and Priest, with a Corse.' See Introduction, p. 8. Note that PB retains F 'Coffin' in place of Q6 'coarse'; Ward A, in the advance call, notes 'Corpse Supported'; Ward B notes simply 'Funeral'.
281: perdition catch the] Hand IX crosses through F 'The Devil take thy soul.' and, with a cross to mark point of insertion, writes 'perdition catch the' above. So Q6, etc.
288: Gen. Good . . . quiet.] Crossed through. 1734, Ward B cut 287-288 ('Queen .... Gentlemen.'); Ward A, 1763, 287-288 ('Qu. . . . quiet.').
296: For love . . . him.] Circled. Omitted 1763; Q6, etc. omit 'For love of God'; Ward A cuts 295-296; Ward B, 295.
307: Queen] Hand III has crossed through F 'King.' and inserted 'Queen' before it. The reading is not clear, being apparently written over something else. The Qq give the speech to the Queen; so Q6, etc.
309: scean] Hand I. Advance call for new scene ('Towne') at V.ii.
321-322: An hour . . . be.] Circled and crossed through. Cut Q6, etc.
(opening): Towne] Hand I (deleted). new sceen] Hand VIII. Cf. IV.ii. For discussion, see Introduction, p. 8.
60-62: 'Tis dangerous . . . opposites.] Circled. Cut Q6, 1734, Ward B; Ward A, after several shorter cuts (including this one) cuts the whole scene down to Osric's entrance at 81; 1763 cuts 4-80.
61-62: Osrick.] Hand II. Something illegible seems to have been written after 'Osrick', possibly an actor's name.
64: ] Beginning with this line someone has scribbled what seem to be an 'O', two 'T' 's (or 'I' 's), and three 'S' 's down the right margin. They seem to have nothing to do with prompt notation, though the 'O' may be the beginning of 'Osrick' again since there is what looks like the remains of an 's' after it.
68-80: To quit . . . here?] Marked with a heavy bracket at left, possibly for omission. Omitted in Qq; Ward A, B omit; 1763 cuts 4-80.
172-179: <Kin>g / <Quee>ne / <?W>illian / <Os>rick / < >ne / <Re>dy] Hand VII. On <?W>illian' (probably the actor David Williams) see, Introduction, p. 1. So far as '< >ne' is concerned (the last letter being doubtful), although it may well be an actor's name, I can only hazard two guesses. There was a Mrs. Kaine who appeared in the Smock Alley Henry VIII as an Old Lady and it is possible that the fop Osric was played by a woman (though not in the London Betterton production) . As I noted at 61-62 above, an illegible word appears to follow Osric's name in the call and it is tempting to read the first letter of that word as 'K' and to read, here, '<Kai>ne'. There may, of course, have been a 'Mr. Kaine' as well as a 'Mrs. Kaine', but I know of no evidence for such an actor. Clark (Early lrish Stage, p. 208) lists a 'Mr. Kaine', but, as I have explained in the General Introduction (p. 14, n.29), this listing arises from a misinterpretation. Alternatively, the call may stand for '<wi>ne' (cf. Ward A: 'King / Queen / Laertes / Attendants / a /Flourish / [line] / one with a / cup of wine').
190-197: ] What remains of Hand II's call (apparently scrawled over) for King, Queen, Laertes, etc. can be seen opposite these lines. It may be reconstructed as '<King> / <Queen>e / <Laerte>s / <Attend>ants / <Lord>s'.
195-197: He did . . . Beavy] Circled. Q6, 1734, Ward B cut 195-196 ('. . . it;'); Ward A cuts 190-202; 1763, 189-218 (Ward A, B, 1763 cut 203-218, lines not found in Ff, hence omitted in PB); Collier MS cuts 190 ('He . . .')-203.
101-103: ] The remains of what I take to be a call by Hand II appear opposite these lines. I suppose '< >pet' to be '<trum>pet' and '< >k' below to be either '<music>k' or '<Osric>k' (Osric does not seem to have been specifically included in Hand II's call above at 190-197). Ward A calls for 'a / Flourish'.
227: <scea>ne.] Hand I. Call for change of scene ('Court' [deleted]) at 237.
236 s.d.: throne 2 hairs] Hand VIII. Either 'hairs' is a slip for 'chairs' or what looks like a '2' should be read as a 'C'. Cf. Hand VI's direction at beginning of III.i.
236 s.d.: Court] Hand I (deleted) . The deletion of 'Towne' and the substitution of 'new sceen' by Hand VIII at the beginning of V.ii make a change of scene here unnecessary. That some kind of a discovery at this point is intended in PB is clear; Q6, Ward B indicate no change; 1734, 1763 read 'Scene draws, and discovers King, Queen, Laertes, Gentlemen and Guards.'; Ward A alters Q6 s.d. to read 'Discover'd Officers with cushions, King, Queen, and Ostrick, Foils, and Laertes.'.
251: Sir, in this Audience,] Marked with parenthesis at left. Omitted Q6, etc.
257-261: But in . . . time.] Circled ('But . . . time,'  not circled but crossed through in red pencil). Cut Q6, etc.
278: stoops of Wine upon the Table:] Hand II crosses through F 'the Stopes of', interlining 'stoops of' with a caret before 'the', and F 'that', writing 'the' above. Q6, 1734, Ward B read as in F, except for 'the' for 'that'; Ward A reduces to 'Give me the wine.' (having deleted 'A Table prepared,' at 236 s.d.); 1763 reduces to 'Give me a Bowl of Wine.'.
283: Onix] Hand ?II alters F 'Union' to 'Onix'. So Q6, etc.
291: Sound] Hand VI. Q6, 1734, Ward B, 1763 read 'Trumpets the while.'; Ward A adds 'Flourish'.
294: wine] Hand II crosses through F 'Cup' and substitutes 'wine' following.
296-297: What say . . . touch,] Circled. Q6, etc. cut 297 ('A touch, a touch,').
322: Villan] Some Hand deletes the 'y' on F 'Villany'. So Q6, 1734.
324: Hamlet,] Crossed through. Omitted Q6, etc.
329: ] What appears to be some alteration in F 'here I lye,' is ink smudging from the opposite page (V.ii.283).
333-335: Ready / Beat / A ma<rch> ] Hand VI. Call for offstage effects at 360.
336: murd'rous / Damned] Crossed through. Omitted Q6.
337: Drink off . . . here?] Crossed through. Cut Q6, etc.
338-339: He is . . . himself:] Crossed through (in red pencil). Cut Q6, etc.
350: Osrick] Hand II.
356-60: fortin<bras> / Ambass<adors> / Drum / [line] / Red<y>] Hand II ('Red<y>' Hand VII); 'Red<y>' has been badly smeared, perhaps deleted. Although PB appears to omit 'Colours' as called for in the F s.d. at 372, it is possible that something of the sort originally followed PB's 'Drum'.
360: shout / drum] Hands VI, III. Note that Hand VI's 'shout' is not anticipative and that Hand III's 'drum' essentially repeats Hand VI's advance call at 333-335 and Hand II's immediately beside it.
375: His quarry . . . Havock.] Crossed through. Cut Q6 (also 406 ['Let four Captains']); 1734, Ward B cut 372-406; Ward A, 1763, 372-411; Collier MS cuts 372-414.
408-409: For he . . . royally:] Bracketed. See above for Ward A, 1763.
414: Goe, bid . . .shoot.] Bracketed. Cut Q6, Ward A, B, 1763.